Ottima la fibrillazione dei passi sulle punte in veloce eundo della ballerina e quello che con un mio neologismo mi piace chiamare convolo aereo ed elanista della ballerina ottimamente indotto e tenuto dal partner. Ottimo l'impadronimento imperativo del proscenio da parte del ballerino a balzi falcati amplissimi ed a sforbiciate aeree e traverse spettacolari. Ottime le posture figurali nell'ensembe e la levità fatta tensione motile sorprendente nella ballerina.Superlativi.Bighin Giulio Renzo. 😊😊😊😊😊😊😊
@Samuel Bekker - Leonid Sarafanov is the best male dancer in the world right now, with high jumps and spectacularly clean technique. There may be other dancers with higher jumps, but they don't have his clean technique. He is also one of the most attentive partners. His ballon in this piece is unsurpassed.
" Leonid Sarafanov is the best male dancer in the world right now" I think you need to get out more . He is definitely refined and amazing dancer but I think Taras Damitro , Davit Karapetyan of San Francisco Ballet are equally on par and Bolshoi's Semyon Chudin lines are even superior !
havenization Taras Damitro, of course, a good dancer, but not even close to as technically clean as Leonid Sarafanov. Davit Karapety, also not as clean, especially in fifth (not a great body either). As far as Cuban dancers go, I would put Osiel Gouneo closer to Sarafanov in technique. He also doesn't have a great body, but his dancing turns it into magic. Semyon Chudin is great -- lines, technique, musicality, and body -- but I still think Sarafanov is the best. Bottom line: Russia, Cuba or wherever (Sarafanov from Ukraine), it is that Russian/Vaganova training. No other training matches it, in my view. By the way next time you respond to me, kindly leave out the personalizations "...you need to get out more."
Jumps alone don't make a dancer, it's not circus, expression, grace, poise, musicality and many other things that make for a great dancer. Luckily Leonid posses them too, many other high jumpers don't. Ballet is a theater, a story to be told through movement, gestures etc, jumps are only roses on the cake, a small show off moments in variations.
What I don't get is the Balanchine Trust is usually very picky about performing the original choreography to a t. Yet I see a number of other companies doing this ballet where the male variation is all over the place (barring a few recognizable steps). I'm kind of surprised this isn't more of an issue.
I also have seen Obraztsova in TPDD and agree with Bnesque she was wonderful. Also, I saw Valeria Martynyuk, just promoted to Mariinsky 2nd soloist, dance this (I think it was as a student IIRC,) and she was at least as good as Obraztsova. Martynyuk has wonderful footwork, lightness and great musicality. I would love to see her dance it today as she was already exceptional then.
Thanks for your trust! I did see her in 3rd movement in Symphony in C, but I really loved to see her in 4th. My ideal line up would be Tereshkina 1st, Kondaurova 2nd, Martynyuk 3rd, Obraztsova 4th! That would stay just a dream... And my Emeralds 1st girl choice is Novikova that is on YT, and 2nd should be Yana Selina. Kondaurova was stunning as a taller girl in Rubies.
I know what you mean! What I wouldn't do to see him live. Actually I went to a ballet with no idea that he was going star in it. When I saw his name on the program I went nuts in the theater. I still can't get over the fact that I was in the same city with him let alone the same building.
@camille32087 You can see her and Semion Chudin wearing TPDD costume and nailing exact same steps from coda in Гала-концерт Dance Open в Мадриде (Театр Реал Мадрид). If you need more I'll asking around.
With that Vaganova upper body and super tight musicality, Tereshkina is a complete revelation! And I found out Obraztsova is also great, though she sometimes goes off the beat slightly, but still great!
@Bnesque I could imagine Tereshkina in this piece, she has a certain attack to her steps yet still maintaing the filigree of a Mariinsky dancer! And she's probably the best turner the Mariinsky has at the moment, I wish I could catch a glimpse of it on youtube. To be honest, I'm surprised the Trust has let these little gems slide :)
@camille32087 I have to say Victoria Tereshkina, Vaganova trained Mariinsky principal can show the best rendition of TPDD in years. She has sublime upper body, arms and can move exactly like a music score itself never lose the beat of this music.
I fervently wish these younger dancers, especially the Russian dancers, could watch the thirty seconds of the coda to this PDD that is shown on the 1977 movie, “The Turning Point”. No present-day dancer quite gets it right, the dynamic of the last series of coda steps - tombé-pas-de-bourrée, glissade, jump-headlong towards the ground, and wait for the cavalier to catch you before you break your neck. Repeat to the left. Ballet wunderkinds, watch ballet legends, Suzanne Farrell and Peter Martins. And learn.
Nyc ballet dancers have to especially watch how Russian dancers from saint Petersburg are dancing the choreography of this Russian choreographer and learn.
Yep, NYCB dancers should watch and learn how NOT to dance this choreography - carefully, safely, slowly, decorously, ponderously, sentimentally, charmlessly. The worst offence is when these Russian dancers slow the tempo down so much that sections of the choreography are rendered unrecognisable, even to the great GEORGIAN-American choreographer who created it. If Balanchine were alive today he would see this and wonder what on earth these dancers are doing. Russian coaches and dancers think they know about Balanchine’s style, but they really don’t.
Aves Raggiana georgia is Russia, they begged Catherin the Great to save them from turkish empire who were cutting and slaughtering them and armenians in thousands. Balanchivadze came from province of Russia, to study in the Imperial Theater school which is now called Vaganova ballet school. Balanchine represents Saint Petersburg's ballet school. New York was very lucky that this Russian choreographer came there. The music of Tchaikovsky another RUSSIAN composer is written beautifully and nice, there is no need to dance it with high paste, especially when losing the quality of the execution of the movement, like NYC ballet dancers can't even hit clean positions nor have the perfection throughout dance. I understand that NYC ballet wants to claim they're special, but they're not and no one had achieved the perfection of Russian dancers from saint Petersburg. you need to acknowledge and pay respect to Russia.
There is no reason to dance it with high pace? But there’s no reason to change the musical tempo to suit a dancer's tastes and accommodate their technical weaknesses either. As far as hitting clean positions and maintaining beautiful execution while dancing at high speed, that’s the trademark of the NYCB. They are trained to dance cleanly, clearly, precisely at any speed, but especially at fast speed. Dancing at high speed, when musically and choreographically necessary, while dancing precisely and gorgeously at the same time is extremely difficult, and is generally beyond the ability of most Vaganova-trained Russian dancers. Russian dancers can move gorgeously, or move quickly, but not both at the same time. Balanchine insisted that his dancers dance to the tempo that the musical composer had set, and not a tempo that suited the dancers’ whims. It is disrespectful to Tchaikovsky for dancers and coaches to take liberties with the score the way Russians do today. Before you tell me I need to do anything, you need to pay respect to your own composers by dancing to their music to the tempo markings that they had set. For you to claim that only the Russian dancers from St Petersburg have achieved perfection is laughable. It also confirms your ignorance of Balanchine’s ballets, Balanchine technique and Balanchine style, and the Balanchine way of moving. The fact that you state that Russian dancers don’t need to move quickly, and that NYCB dancers cannot dance with precision or perfection of movement further confirms your ignorance. Don’t try to claim George Balanchine as your own. The St Petersburg school that Balanchine represented is very, very different from the St Petersburg school from today, modified and irrevocably influenced as it has been by Vaganova. Balanchine went his own way in America, along with the Russian emigre teachers from the imperial pre-revolution era who worked with him; the Kirov/Maryinsky went another way, with Vaganova, Sergeyev and Dudinskaya. The only thing that the NYCB claim is that they are the repository and guardian of Balanchine’s works and the Balanchine style. They’ve never claimed to be special, nor do they claim that they can dance anything and everything better than everybody else. That ridiculous claim is generally only made by Russians, and by the many myopic fans of Russian ballet.
The music of Tchaikovsky was not even written in high pace, all of these made up Lies by New York City Ballet agenda people are fake propaganda what's beautiful is beautiful what's not is not and speed has nothing to do with it
the only thing that bothers me with Sarafanov is his arms in third position (or fifth depending on what technique you use) i feel like if he'd just lengthen his arms and pull them back a bit more he would be perfect.
Balanchine is a technique and a method of ballet training, a la Vaganova, Ecole Francaise, Ceccheti, etc. It emphasizes speed and flexability. Russians do a more exaggerated step, often "sitting" in positions (showing off their strength as per Vaganova method), and tend to be slower turners. Though these two do a beautiful rendition of TPDD, they do change tempo and for me, lose the wow factor of the Balanchine quick step.
@zephyrballet Straight from encyclopedia britannica, Method: a procedure or process for obtaining an object as: A) a systematic procedure, technique, or mode of inquiry employed by or proper to a particular discipline or art; a systematic plan followed in presenting material for instruction. B) a way, technique or process of or for doing something; a body of skills or technique. Balanchine drew up and entire scheme of lesson plans (procedure/process) in order to produce a desired outcome.
@unsatura blame whoever came from the Balanchine Trust to set it on them! NEVER blame the actual dancers, it's the coach's fault. I'm sorry that you have no idea what you are actually watching here...dancers who have HAVE technique and have to succumb to the awfulness that is the Balanchine style. Balanchine isn't a technique, it's a style.
ummmm i've said this before and i'll continue to say it until the mariinsky and bolshoi change their approach to Balanchine's choreography, you never ever (even in classical repertoire a la Petipa) dance through the music! you dance on the music which is the exact opposite of what these two are doing. Sarafanov is better than Novikova so that's something but she started two counts early for the ballerina variation!!! the plie is on the 1 not the 7 of the intro! would you do that to Petipa?!
Did they have only 20 minutes to rehearse adagio section or what?..Very uncomfartable partnering and mediocre musicality. Imo the only really good moment about this performance is his variation.
i think leonid is quite a weak dancer, he is good, but does not belong to the list of great dancers, he is does not generate any power, he is as bit timid.
Ottima la fibrillazione dei passi sulle punte in veloce eundo della ballerina e quello che con un mio neologismo mi piace chiamare convolo aereo ed elanista della ballerina ottimamente indotto e tenuto dal partner. Ottimo l'impadronimento imperativo del proscenio da parte del ballerino a balzi falcati amplissimi ed a sforbiciate aeree e traverse spettacolari. Ottime le posture figurali nell'ensembe e la levità fatta tensione motile sorprendente nella ballerina.Superlativi.Bighin Giulio Renzo. 😊😊😊😊😊😊😊
Какая необыкновенная лёгкость, в исполнении вариаций! Молодцы 😊❤!!!
beautiful dancing, as always
!Me encanta verlos bailar juntos!Felicitaciones.
Sarafanov in the plays from Bole, and hes wife Novikova all the respect, very nice
No me canso de verlos!!
Amazing artist! Bravo!
@Samuel Bekker - Leonid Sarafanov is the best male dancer in the world right now, with high jumps and spectacularly clean technique. There may be other dancers with higher jumps, but they don't have his clean technique. He is also one of the most attentive partners. His ballon in this piece is unsurpassed.
" Leonid Sarafanov is the best male dancer in the world right now" I think you need to get out more . He is definitely refined and amazing dancer but I think Taras Damitro , Davit Karapetyan of San Francisco Ballet are equally on par and Bolshoi's Semyon Chudin lines are even superior !
havenization Taras Damitro, of course, a good dancer, but not even close to as technically clean as Leonid Sarafanov. Davit Karapety, also not as clean, especially in fifth (not a great body either). As far as Cuban dancers go, I would put Osiel Gouneo closer to Sarafanov in technique. He also doesn't have a great body, but his dancing turns it into magic. Semyon Chudin is great -- lines, technique, musicality, and body -- but I still think Sarafanov is the best. Bottom line: Russia, Cuba or wherever (Sarafanov from Ukraine), it is that Russian/Vaganova training. No other training matches it, in my view.
By the way next time you respond to me, kindly leave out the personalizations "...you need to get out more."
Sergei Polunin!
@@sevoleks seriously?
Jumps alone don't make a dancer, it's not circus, expression, grace, poise, musicality and many other things that make for a great dancer. Luckily Leonid posses them too, many other high jumpers don't. Ballet is a theater, a story to be told through movement, gestures etc, jumps are only roses on the cake, a small show off moments in variations.
love it
The perfect body shape and skills -- embody the art
Maravilhosos👏🏻👏🏻
Прекрасная пара- подобное-подобным! Здоровья им!
amazing!!
I love this couple
WOW!!!!
She's got some hyper extended bowed legs.... beautiful performance
What I don't get is the Balanchine Trust is usually very picky about performing the original choreography to a t. Yet I see a number of other companies doing this ballet where the male variation is all over the place (barring a few recognizable steps). I'm kind of surprised this isn't more of an issue.
I also have seen Obraztsova in TPDD and agree with Bnesque she was wonderful. Also, I saw Valeria Martynyuk, just promoted to Mariinsky 2nd soloist, dance this (I think it was as a student IIRC,) and she was at least as good as Obraztsova. Martynyuk has wonderful footwork, lightness and great musicality. I would love to see her dance it today as she was already exceptional then.
Please, no critique..I am in heaven now, and smiling..
Thanks for your trust! I did see her in 3rd movement in Symphony in C, but I really loved to see her in 4th. My ideal line up would be Tereshkina 1st, Kondaurova 2nd, Martynyuk 3rd, Obraztsova 4th! That would stay just a dream... And my Emeralds 1st girl choice is Novikova that is on YT, and 2nd should be Yana Selina. Kondaurova was stunning as a taller girl in Rubies.
I know what you mean! What I wouldn't do to see him live. Actually I went to a ballet with no idea that he was going star in it. When I saw his name on the program I went nuts in the theater. I still can't get over the fact that I was in the same city with him let alone the same building.
@camille32087 You can see her and Semion Chudin wearing TPDD costume and nailing exact same steps from coda in Гала-концерт Dance Open в Мадриде (Театр Реал Мадрид). If you need more I'll asking around.
With that Vaganova upper body and super tight musicality, Tereshkina is a complete revelation! And I found out Obraztsova is also great, though she sometimes goes off the beat slightly, but still great!
@sbballetgirl22
This pas de deux was planned to be in Swan Lake, and if you look on iTunes "Swan Lake" with Dutoit conducting you should find it! :)
@Bnesque I could imagine Tereshkina in this piece, she has a certain attack to her steps yet still maintaing the filigree of a Mariinsky dancer! And she's probably the best turner the Mariinsky has at the moment, I wish I could catch a glimpse of it on youtube. To be honest, I'm surprised the Trust has let these little gems slide :)
this is man and wife, you know. in real life
Gordon Ackerman with three children
💗💗💜💙
@camille32087 I have to say Victoria Tereshkina, Vaganova trained Mariinsky principal can show the best rendition of TPDD in years. She has sublime upper body, arms and can move exactly like a music score itself never lose the beat of this music.
You can have both. I can attest to that. Not nearly to her degree though.
I fervently wish these younger dancers, especially the Russian dancers, could watch the thirty seconds of the coda to this PDD that is shown on the 1977 movie, “The Turning Point”. No present-day dancer quite gets it right, the dynamic of the last series of coda steps - tombé-pas-de-bourrée, glissade, jump-headlong towards the ground, and wait for the cavalier to catch you before you break your neck. Repeat to the left. Ballet wunderkinds, watch ballet legends, Suzanne Farrell and Peter Martins. And learn.
Nyc ballet dancers have to especially watch how Russian dancers from saint Petersburg are dancing the choreography of this Russian choreographer and learn.
Yep, NYCB dancers should watch and learn how NOT to dance this choreography - carefully, safely, slowly, decorously, ponderously, sentimentally, charmlessly. The worst offence is when these Russian dancers slow the tempo down so much that sections of the choreography are rendered unrecognisable, even to the great GEORGIAN-American choreographer who created it. If Balanchine were alive today he would see this and wonder what on earth these dancers are doing.
Russian coaches and dancers think they know about Balanchine’s style, but they really don’t.
Aves Raggiana georgia is Russia, they begged Catherin the Great to save them from turkish empire who were cutting and slaughtering them and armenians in thousands. Balanchivadze came from province of Russia, to study in the Imperial Theater school which is now called Vaganova ballet school. Balanchine represents Saint Petersburg's ballet school. New York was very lucky that this Russian choreographer came there. The music of Tchaikovsky another RUSSIAN composer is written beautifully and nice, there is no need to dance it with high paste, especially when losing the quality of the execution of the movement, like NYC ballet dancers can't even hit clean positions nor have the perfection throughout dance. I understand that NYC ballet wants to claim they're special, but they're not and no one had achieved the perfection of Russian dancers from saint Petersburg. you need to acknowledge and pay respect to Russia.
There is no reason to dance it with high pace? But there’s no reason to change the musical tempo to suit a dancer's tastes and accommodate their technical weaknesses either. As far as hitting clean positions and maintaining beautiful execution while dancing at high speed, that’s the trademark of the NYCB. They are trained to dance cleanly, clearly, precisely at any speed, but especially at fast speed. Dancing at high speed, when musically and choreographically necessary, while dancing precisely and gorgeously at the same time is extremely difficult, and is generally beyond the ability of most Vaganova-trained Russian dancers. Russian dancers can move gorgeously, or move quickly, but not both at the same time.
Balanchine insisted that his dancers dance to the tempo that the musical composer had set, and not a tempo that suited the dancers’ whims. It is disrespectful to Tchaikovsky for dancers and coaches to take liberties with the score the way Russians do today. Before you tell me I need to do anything, you need to pay respect to your own composers by dancing to their music to the tempo markings that they had set.
For you to claim that only the Russian dancers from St Petersburg have achieved perfection is laughable. It also confirms your ignorance of Balanchine’s ballets, Balanchine technique and Balanchine style, and the Balanchine way of moving. The fact that you state that Russian dancers don’t need to move quickly, and that NYCB dancers cannot dance with precision or perfection of movement further confirms your ignorance.
Don’t try to claim George Balanchine as your own. The St Petersburg school that Balanchine represented is very, very different from the St Petersburg school from today, modified and irrevocably influenced as it has been by Vaganova. Balanchine went his own way in America, along with the Russian emigre teachers from the imperial pre-revolution era who worked with him; the Kirov/Maryinsky went another way, with Vaganova, Sergeyev and Dudinskaya.
The only thing that the NYCB claim is that they are the repository and guardian of Balanchine’s works and the Balanchine style. They’ve never claimed to be special, nor do they claim that they can dance anything and everything better than everybody else. That ridiculous claim is generally only made by Russians, and by the many myopic fans of Russian ballet.
The music of Tchaikovsky was not even written in high pace, all of these made up Lies by New York City Ballet agenda people are fake propaganda what's beautiful is beautiful what's not is not and speed has nothing to do with it
@zephyrballet Welcome to the same camp
the only thing that bothers me with Sarafanov is his arms in third position (or fifth depending on what technique you use) i feel like if he'd just lengthen his arms and pull them back a bit more he would be perfect.
Balanchine is a technique and a method of ballet training, a la Vaganova, Ecole Francaise, Ceccheti, etc. It emphasizes speed and flexability. Russians do a more exaggerated step, often "sitting" in positions (showing off their strength as per Vaganova method), and tend to be slower turners. Though these two do a beautiful rendition of TPDD, they do change tempo and for me, lose the wow factor of the Balanchine quick step.
@zephyrballet Straight from encyclopedia britannica, Method: a procedure or process for obtaining an object as: A) a systematic procedure, technique, or mode of inquiry employed by or proper to a particular discipline or art; a systematic plan followed in presenting material for instruction. B) a way, technique or process of or for doing something; a body of skills or technique.
Balanchine drew up and entire scheme of lesson plans (procedure/process) in order to produce a desired outcome.
yet another Russian approach to Tchaikovsky Pas de Deux, full of poses, affectations and sentimentality... and applause milking
Nailed it. And the Russian ballet lovers just don’t see it.
@unsatura blame whoever came from the Balanchine Trust to set it on them! NEVER blame the actual dancers, it's the coach's fault. I'm sorry that you have no idea what you are actually watching here...dancers who have HAVE technique and have to succumb to the awfulness that is the Balanchine style. Balanchine isn't a technique, it's a style.
🌺
ummmm i've said this before and i'll continue to say it until the mariinsky and bolshoi change their approach to Balanchine's choreography, you never ever (even in classical repertoire a la Petipa) dance through the music! you dance on the music which is the exact opposite of what these two are doing. Sarafanov is better than Novikova so that's something but she started two counts early for the ballerina variation!!! the plie is on the 1 not the 7 of the intro! would you do that to Petipa?!
Did they have only 20 minutes to rehearse adagio section or what?..Very uncomfartable partnering and mediocre musicality. Imo the only really good moment about this performance is his variation.
i think leonid is quite a weak dancer, he is good, but does not belong to the list of great dancers, he is does not generate any power, he is as bit timid.