Sea cómo fuere es una bella estampa de una epoca muy bien concebida y reproducida con un gran virtuosismo que merece la atencion del más exigente critico y especialista, bravo por ellos dos , grandes de grandes geniales cómo la presentacion y el arte del buen ballet en esa joya que es la gran bella de CUBA Grs..
Уникальный номер с уникальной Алонсо, партнёр хорош. Видела их на сцене в других постановках, незабываемое впечатление. Великая есть великая. Хотя её нет в этом мире, осталась память, восторг и преклонение перед исключительным талантом.
Simplemente GRANDES! Para muchos quizas dificil reconocer y SABER DISTINGUIR a simple vista del estilo romantico, saber apreciar la elegancia del ballet clasico en su maxima esencia. Mas es sencillamente deleitante poder contar con una joya como esta... Alicia es simplemente una de las grandes, innegable la fineza y delicadeza de su tecnica, asentuada con la experiencia de los años, la cual creo aporta aun mas valor a todas sus presentaciones mas recientes. Pese a la otrora fuerza y poderosa tecnica que la hizo grande en los escenarios mundiales, no demerita para nada ver la perfeccion y madurez de su arte, muestra de este video. El misterio unico de los movimientos de sus brazos, su cabeza, y sus piernas en total armonia musical, ademas acompañados de una poderosa presencia escenica y un disfrute pleno por el baile hacen de ella una figura mitica e imprescindible en el ballet en los siglos XX y XXI. Esta pieza muestra a dos grandes de la Danza Clasica universal. En los Tiempos que corren es muy dificil encontrar tal gracia y sentido musical. Ahora se ven muchas acrobacias despampanantes, que mas que danzar son un reto al propio fisico, sin tener en cuenta esto que Alicia y Esquivel nos regalan en todas sus presentaciones, ARTE y DANZA.
Oui, il y a tellement plus de danse que de technique - la technique n'est que le fondement pour construire une grande danse. Et cette Alicia Alonso a très bien réussi - c'est la bienvenue pour la voir dans ce ballet précoce - celui qui correspondait à ses cadeaux en ballerine
The original 1831 choreography by Filippo Taglioni does exist, as Bourneville wrote it down in 1841. The 'Ballet of the Nuns' is the direct source of 'La Sylphide' and 'Giselle'; its choreography is just like 'La Sylphide', unsurprisingly, since Filippo Taglioni did both concurrently. Modern productions of 'Robert' have been ugly travesties. Just why there hasn't been an inspired reconstruction is incomprehensible (see: Ann Hutchinson Guest and Knud Arne Jürgensen, 'Robert le Diable': The Ballet of the Nuns",1997).
@@JohnRaymondHall In the "more original". Giselle performances Myrta uses a plant when Giselle is changing into a wilis and calling her out of the grave. Robert is doing the same with the nun.
Yes, it was in this opera-ballet that Marie Taglioni first presented her outstanding ability to dance en pointe and helped the ability to become a permanent tradition in ballet, which is clearly why she's often erroneously credited as having been the very first ballerina to ever go up on her toes, which was actually not the case.
+DarkDancer06 absolutely - i read "The first dancers to rise up onto their toes did so with an invention by Charles Didelot in 1795. His “flying machine” lifted dancers upward, allowing them to stand on their toes before leaving the ground. This lightness and ethereal quality was so well received by audiences and, as a result, choreographers began to look for ways to incorporate more pointe work into their pieces."
His variation is not in Meyerbeer's original at all. There was no male variation; the music here is an interpolation. Even the orchestration here is modernized and changed from Meyerbeer's score. The plot description in the beginning is wrong: Robert gets the branch, not the 'Devil', and the Abbess Héléna doesn't want the branch; she wants Robert to get it so he can fulfill Robert's father Bertram's evil designs. The 'adage' is for solo cello and flute, not what you get here.
that's interesting - i did not know that. and for outlining where things are not original. and thanks for the correction to the description of the beginning of the plot. i got my information from the notes that came with the video on the Romantic Period in Ballet
+Sima Raft yes, i wonder if the ballet as presented here has anything to do with the original - or some weird fanciful imagining of what it might have been like?
Sea cómo fuere es una bella estampa de una epoca muy bien concebida y reproducida con un gran virtuosismo que merece la atencion del más exigente critico y especialista, bravo por ellos dos , grandes de grandes geniales cómo la presentacion y el arte del buen ballet en esa joya que es la gran bella de CUBA Grs..
Beautiful indeed .
Уникальный номер с уникальной Алонсо, партнёр хорош. Видела их на сцене в других постановках, незабываемое впечатление. Великая есть великая. Хотя её нет в этом мире, осталась память, восторг и преклонение перед исключительным талантом.
Simplemente GRANDES!
Para muchos quizas dificil reconocer y SABER DISTINGUIR a simple vista del estilo romantico, saber apreciar la elegancia del ballet clasico en su maxima esencia. Mas es sencillamente deleitante poder contar con una joya como esta... Alicia es simplemente una de las grandes, innegable la fineza y delicadeza de su tecnica, asentuada con la experiencia de los años, la cual creo aporta aun mas valor a todas sus presentaciones mas recientes. Pese a la otrora fuerza y poderosa tecnica que la hizo grande en los escenarios mundiales, no demerita para nada ver la perfeccion y madurez de su arte, muestra de este video. El misterio unico de los movimientos de sus brazos, su cabeza, y sus piernas en total armonia musical, ademas acompañados de una poderosa presencia escenica y un disfrute pleno por el baile hacen de ella una figura mitica e imprescindible en el ballet en los siglos XX y XXI. Esta pieza muestra a dos grandes de la Danza Clasica universal.
En los Tiempos que corren es muy dificil encontrar tal gracia y sentido musical. Ahora se ven muchas acrobacias despampanantes, que mas que danzar son un reto al propio fisico, sin tener en cuenta esto que Alicia y Esquivel nos regalan en todas sus presentaciones, ARTE y DANZA.
Oui, il y a tellement plus de danse que de technique - la technique n'est que le fondement pour construire une grande danse. Et cette Alicia Alonso a très bien réussi - c'est la bienvenue pour la voir dans ce ballet précoce - celui qui correspondait à ses cadeaux en ballerine
Wow, I love it! A unique couple!
me too!
@@JohnRaymondHall Always when I see Esquivel performing this I have to think: he is portraying Rudi?!
Great video John!, many thanks for sharing it!
i found it in a documentary with Anton Dolin as the talking head
The original 1831 choreography by Filippo Taglioni does exist, as Bourneville wrote it down in 1841. The 'Ballet of the Nuns' is the direct source of 'La Sylphide' and 'Giselle'; its choreography is just like 'La Sylphide', unsurprisingly, since Filippo Taglioni did both concurrently. Modern productions of 'Robert' have been ugly travesties. Just why there hasn't been an inspired reconstruction is incomprehensible (see: Ann Hutchinson Guest and Knud Arne Jürgensen, 'Robert le Diable': The Ballet of the Nuns",1997).
For example the last Paris performance! Gosh!!! 🤑
Would this plant have to be the same Myrta uses?
hi Susanne - don't quite understand your comment - my fault - apologies
@@JohnRaymondHall In the "more original". Giselle performances Myrta uses a plant when Giselle is changing into a wilis and calling her out of the grave. Robert is doing the same with the nun.
@@susannevollmer2347 of course - i understand now - thanks for sorting my woolly head out! :)
Yes, it was in this opera-ballet that Marie Taglioni first presented her outstanding ability to dance en pointe and helped the ability to become a permanent tradition in ballet, which is clearly why she's often erroneously credited as having been the very first ballerina to ever go up on her toes, which was actually not the case.
+DarkDancer06 absolutely - i read "The first dancers to rise up onto their toes did so with an invention by Charles Didelot in 1795. His “flying machine” lifted dancers upward, allowing them to stand on their toes before leaving the ground. This lightness and ethereal quality was so well received by audiences and, as a result, choreographers began to look for ways to incorporate more pointe work into their pieces."
+John Hall exactly right; merci Monsieur Didelot for your wonderful invention! 😊
+DarkDancer06 indeed! i wonder if the invention might not have come about without Monsieur Didelot? not sure - what do you think?
+John Hall probably not; maybe if it didn't start with him, it would've come into invention much later, but I'm glad he was the one to invent it!
+DarkDancer06 me too!
His variation is not in Meyerbeer's original at all. There was no male variation; the music here is an interpolation.
Even the orchestration here is modernized and changed from Meyerbeer's score. The plot description in the beginning is wrong: Robert gets the branch, not the 'Devil', and the Abbess Héléna doesn't want the branch; she wants Robert to get it so he can fulfill Robert's father Bertram's evil designs. The 'adage' is for solo cello and flute, not what you get here.
that's interesting - i did not know that. and for outlining where things are not original. and thanks for the correction to the description of the beginning of the plot. i got my information from the notes that came with the video on the Romantic Period in Ballet
Altogether weird!
+Sima Raft
yes, i wonder if the ballet as presented here has anything to do with the original - or some weird fanciful imagining of what it might have been like?
@@JohnRaymondHall This nun is a very smart one.Which plant uses she? The same in "Giselle"?(She takes it from Robert!)
@@susannevollmer2347 perhaps :)