Posted 11 July 2006 - 05:53 PM
Posted 11 July 2006 - 06:59 PM
Well, I didn't see the same performance of Giselle Acocella reviewed but I saw many of the same components of Vishneva's Giselle in the earlier performance I did see.
Without going into details, I would take a step back to a basic level and say that I feel Vishneva has a tremendous magnetism on stage. She draws your eye to her. I find it difficult to look away from her when she is on stage and look at someone/something else.
This is all fresh in my mind; I just saw her last night with ABT in Romeo and Juliet.
There is much, much more that could be said; what she does, how she does it, etc. but I thought to start off I would throw out my thought on what I feel is her great magnetism.
Posted 11 July 2006 - 07:36 PM
[Quote by Buddy]
In the New Yorker Joan Acocella discusses Diana Vishneva's "Giselle". Ms. Acocella has some rather different ideas about the nature of the character than I do, but I definitely share her sentiments about Diana Vishneva's abilities. Two quotes below.
"Diana Vishneva, a principal dancer at the Kirov Ballet and at American Ballet Theatre, once told Francis Mason, of Ballet Review, that in any ballet she always tried to find “a particular thing that allows me to know what I am doing with the role, not just to do it beautifully.” She needed, she said, to find her own “secret.”
"Her versatility is huge. So is her scale. She has the hundred-and-eighty-degree extension that ballerinas, worldwide, now cultivate, but she uses it for dance purposes—to carve the air, broaden the arc—rather than for the merely visual purpose, so strange and fundamentally vulgar, of raising the foot to the ear. Also, she has the celebrated Kirov back. When she turns around, you can see all the movement emanating from the lumbar spine. But you don’t have to see it. Always, you can feel that generator working, and this gives the movement force and unity, which read as spiritual qualities—the body as soul."
Posted 11 July 2006 - 07:53 PM
Posted 11 July 2006 - 08:22 PM
We meet again from earlier Diana "discussion" days. Good to have you back! Cheers!
Posted 12 July 2006 - 03:57 AM
Posted 12 July 2006 - 05:17 AM
Vishneva's petite (certainly not a part of the Kirov Basketball Team), but her super-long arms and enormous eyes give her a huge stage presence. Her feet are not Paloma Herrera pretty, and unlike many American dancers she doesn't seem afraid to absolutely pound her shoes into the stage floor. She has such enormous elevation, which is why she's such a good partner for Malakhov. The way they were able to jump to the exact same height was something to watch.
Posted 12 July 2006 - 06:24 AM
(Admittedly it isn't a virtue easy to recognize in NYC: We have the Knicks...)
Posted 12 July 2006 - 08:17 AM
In any case I have watched this video a lot, especially from the Act II Grand Pas De Deux on to the end. It is even a sort of lulliby for me at bedtime. The problem there is that it keeps me awake at early hours thinking about it. Also as an excellent contrast and perhaps my favorite video until the arrival of this one (now I have two 'perhaps favorites') is the Makarova-Baryshnikov "Giselle". (This VCR is 'out of print'(?) ), but can be purchased on the internet for a lot of money. I paid about $60 a few years ago. Not bad at the time.
"In any case I have watched this video a lot" (Diana V version)...and I will have to study your description of what you saw word for word, but...
first viewing of what you wrote seems Absolutely "Right On". Thanks.
Posted 12 July 2006 - 08:43 AM
Something more about Vishneva and Malakhov: at the end of their pdd, it was amazing to see their arms and bodies lined up perfectly. The only other time I've seen such a perfect alignment was the Fonteyn/Nureyev tape.
There are so many great touches to Vishneva's Giselle, but one great moment is how when she realizes Albrecht has betrayed her, she furiously RIPS off Bathilde's necklace and flings it into the air with disgust. This Giselle is not a pretty pushover. She's passionate and strong-willed, and she wasn't just heartbroken, she was MAD. So it wasn't a surprise that she'd be such a formidable, implacable presence in Act 2.
Interestingly, Diana on her website said that she originally wanted to be a figure skater. I am glad she chose ballet instead, because while I'm sure Diana would have brought grace, passion, and fierce athleticism on the ice, it would only be 4 minutes of grace, passion, and athleticism.
Buddy, the video from Japan is is obtainable I believe from Japanese websites.
Posted 12 July 2006 - 09:04 AM
Her "Manon" and Juliet in "R&J" in the MacMillan ballets shows her to be expert at detailed theatrical portraiture with minimal virtuoso brilliance in three act story ballets.
The revelation of her recent ABT appearances is her dramatic ability which is seen at its best with Vladimir Malakhov. When they are together onstage every moment is a fascinating revelation and you don't know where to look. If you look at Diana realizing a moment or creating a fascinating dramatic gambit you miss a heartbreaking reaction or revealing gesture from Vladimir. I saw her "Giselle" and "Don Quixote" with the Kirov on tour in New York - her ABT performances were vastly more fascinating and brilliant. The difference was her dramatic portraiture and artistic interpretation - I always loved her dancing but the acting is really something now.
The only great classical role she hasn't as of yet completely synthesized all the elements of is Odette/Odile in "Swan Lake" which is a recent addition to her repertoire. I think that in two or three years probably with Malakhov she will conquer the role. Oddly, as I see her as naturally an allegro dancer, her Odette is currently better than her Odile. Her performance at ABT in 2005 showed a fascinatingly willowy vulnerable Odette but a brittle small-scale Odile. This year her Odette wasn't as fragile and more staccato but her Odile was more of a ballerina and siren and generally more effective despite tiny technical glitches. She is still exploring "Swan Lake" but I am confident of her eventual triumph. Her first Giselle in NY with the Kirov was nothing in comparison with what she achieved with Malakhov this year.
Posted 12 July 2006 - 02:05 PM
There are artists, like Luciano Pavarotti in his pre-Three Tenors days, who always play themselves. That's not to deny that a Pavarotti had a golden, honeyed voice, and in his early-mid '70's recitals had the patience to treat every song like a precious jewel. But there is no doubt that the artist supercedes the material. I've seen Vishneva live once, in Sleeping Beauty, and didn't for a moment think I was watching Aurora. There were some very lovely things that she did in that performance, but I felt like I was watching The Diana Vishneva Show.
(Someone has to be Scrooge...)
Posted 12 July 2006 - 03:54 PM
Posted 12 July 2006 - 04:43 PM
You thought that of her Giselle last year? I thought I was the only one.
I liked it, it wasn't in any way bad. But I wasn't blown away by it. I have to say the Giselle I saw this year with Dvorovenko and Beloserkovsky was much better in my opinion.
I think I made my feelings regarding the Swan Lake somewhat obvious.
That said, I did *really* enjoy her Juliet this week. I thought it was really lovely, powerful, different, yes, but within the confines of the role (maybe pushing them a bit, but it was to my eyes, a valid interpretation of Juliet)
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