Word: ballets
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...track down someone who could enlighten me as to what was going on. I corraled Paul D. Weaver, Assistant Director and Controller, who put the Dressage in layman's terms. "It's basically equivalent to the compulsaries in figure skating," Weaver said. "Sort of a cross between gymnastics and ballet that incurs negative points. The least amount of penalties amassed at the end of the three days will be your winner...
John Cranko, founder of the Stuttgart Ballet in 1961, molded it into a company of world rank with his ballets on great classical themes: Romeo and Juliet, Eugene Onegin, The Taming of the Shrew. Cranko's traditional style stressed drama and athleticism. Ballet audiences were therefore stunned when, after Cranko's sudden death in 1973, American Choreographer Glen Tetley was appointed his successor. An iconoclast of the dance, Tetley, 49, raises conservative eyebrows high with his infusion of modern dance idioms into ballet. Again, unlike Cranko, he has always been known for relatively small dance pieces that concentrate...
...mixed expectations, then, New Yorkers turned out at the Metropolitan Opera House last week for Balletdirektor Tetley's debut visit with the Stuttgart and his first full-scale work, Daphnis and Chloë. The choice was an odd one. Daphnis and Chloë has not been a lucky ballet. The 1912 Paris première by Diaghilev's Ballet Russe suffered from underrehearsal and, according to Michel Fokine, who choreographed the work, indifferent dancing by Karsavina and Nijinsky. No one faulted the dancing of Margot Fonteyn and Michael Somes in the 1951 Sadler's Wells revival...
Like Cranko, Tetley pushes his dancers to outer limits, interweaving distended limbs and torsos in intricate patterns. Ballerinas jet up like natural gey sers in grandiose one-handed lifts, only to plummet a moment later in balletic kamikaze dives. This is not orthodox story ballet. But the choreography is fluent, strong, and from the beginning moves with the propulsion of a Metroliner. Tetley's Daphnis and Chloë should be a Stuttgart staple...
...doll with huge blue eyes fringed with black lashes. Her face reflects the determination to survive in a profession that allows no respite: "If I miss one day of dancing, I can feel it." At age 15, after she had entered George Balanchine's New York City Ballet, Gelsey developed tendinitis. By the time Mr. B. selected her to dance in Firebird two years later, dancing had become unbearably painful. "I had forced a great deal." She almost gave up. Instead, in an effort comparable to Rubinstein's retraining himself at age 45, Gelsey re-evaluated her technique...