5 on Friday -- Set 233

Spinning Friday tunes since 2010...

For anyone who wants to join in, simply choose five pieces of music and post them for other bloggers to enjoy. Then check out the set posted by the other 5 on Friday blogger -- you can sign in over at Golch Central's Rambling Stuff.

I'm blogging at the Romance Writers of Atlantic Canada this Friday about a former day job -- or in my case, mainly an evenings-and-weekends job -- that reflects on romance writing in so many ways.

Of course, as a former usher of a performing arts theater, I was the observer of the ballet world and not a participant. However, there are popular misconceptions about both ballerinas and romance writers, and in my post I explore those as well as how both art forms mirror one another.

So what better set to post this week than a ballet set? Here are five of my favorite variations, or solo dance pieces.

1 - Dulcinea variation from Don Quixote -- Nina Ananiashvili

She dances this deceptively difficult piece with the grace and lightness that can only be achieved by strength and endurance.

2 - Philippe's variation from Flames of Paris -- Ivan Vasiliev

His strength and the height he achieves in his jumps are allowed to be on full display as a male dancer.

3 - Act I Pas de Deux (dance for two) from The Nutcracker -- Vladimir Shklyarov and Ksenia Zhiganshina

Okay -- not a variation, but a duet. This male dancer is one of my favorites -- ballet is essentially a moving sequence of geometric patterns created by bodies, and his body has exquisite line. He's also a consummate partner, anticipating her every move.

4 - The Death of Hilarion from Giselle -- Kazuo Kimura and the corps of the Tokyo Ballet

I'm always about dramatic power over technique, so this scene from Giselle has always been one of my favorite parts. The villager Hilarion must show exhaustion with his upper body while continuing to use strength during his jumps with his lower body. It's not an easy thing to let the audience in on how tiring it is to dance, when a dancer's entire career is focused on hiding the effort.

5 - Black Swan Coda, Act III variation from Swan Lake -- Viktoria Tereshkina and the Mariinsky Ballet

This is one of the most famous female pyrotechnic roles, culminating in 32 fouettees (the pirouettes with a kick.) This is one of the few against-type female roles that showcase the more aggressive side of female dancing. Odile, the Black Swan is an evil-twin character to the elegant, giving Odette, the White Swan. Here Odile tricks Prince Siegfried into declaring true love for her, when he thinks Odile is Odette, thereby cursing Odette to remain a swan forever.

Not only do I get all the tragic drama in this section of the ballet, but who can resist the thrill of those 32 fouettees?  

Poetry Monday - 69 - Don Quixote

Once again I was privileged to attend the ballet on Saturday. This was the Cuban National Ballet's version of Don Quixote, performed while on tour in Paris, France at the Palais Garnier. The story actually follows the romance of Kitri and Basilio, young lovers in a town where the wandering knight Don Quixote takes shelter. Because Quixote is always in search of Dulcinea, his ideal of romantic love, he helps the young lovers when their plans to wed seem beyond reach.



Here is a compilation clip of highlights from the same production of Don Quixote I saw by the Cuban National Ballet.




Below is the Act III Pas de Deux from Don Quixote, showcasing the astounding Viengsay Valdes as Kitri. That's Valdes at the top of the post in the red dress executing a flawless grande sissonne that I've never seen anyone do better. Her balances were truly awesome, and her pirouettes were steady as a rock and could have gone on forever. Best of all, her acting was perfect for Kitri, who is supposed to be saucy and full of life. Often, she's danced by reserved ballerinas who couldn't imply 'saucy' if their lives depended on it. Viengsay Valdes exuded sultry energy and the ability to join steps so that the choreography sang as I have rarely experienced.

Photo by Francesc Casals



Basilio was danced by Romel Frometa. He had very natural comic timing, which is important for this role. His jumps were explosive with really impressive height, and his partnering was magnificent, especially during Valdes' incredible balances. The overhead throw of Valdes as she did a split jump, where he then caught her into a swan dive at the end of the pas de deux was a total jaw-dropper for me. Don't try that one at home, kids!

The Don Quixote pas de deux is often performed on its own in mixed programs and galas, because of its bravura choreography.



For Poetry Monday, I've included the lyrics to Dulcinea from Man of La Mancha, based upon Don Quixote.

Dulcinea


Did my lady think to put me to a test?
Ah, sweet sovereign of my captive heart. I shall
not fail thee, for I know...

I have dreamed thee too long,
Never seen thee or touched thee.
But known thee with all of my heart.
Half a prayer, half a song,
Thou hast always been with me,
Though we have been always apart.

Dulcinea... Dulcinea...
I see heaven when I see thee, Dulcinea,
And thy name is like a prayer
An angel whispers... Dulcinea... Dulcinea!

If I reach out to thee,
Do not tremble and shrink
From the touch of my hand on thy hair.
Let my fingers but see
Thou art warm and alive,
And no phantom to fade in the air.

Dulcinea... Dulcinea...
I have sought thee, sung thee,
Dreamed thee, Dulcinea!

Now I've found thee,
And the world shall know thy glory,
Dulcinea... Dulcinea!

- lyrics by Joe Darion - 1964
(music by Mitch Leigh)


This is Dulcinea sung by Placido Domingo, a huge favorite of mine.