extrapenguin

Swan Lake is, after the Nutcracker, perhaps the most basic ballet there is. It's considered the peak of classical ballet (note: in ballet, the romantic era comes before the classic, so that while Tchaikovsky is a romantic composer, he is a composer of classic ballets), but I think the part of the reason for its longevity is that it has multiple ending variants, broadly divided into "villain wins" and "lovers prevail".

Short synopsis:

including the prologue!

[Prologue] Princess Odette gets kidnapped by an evil sorcerer, Rothbart, and cursed to become a swan who can only turn human by night. (He has a collection of women he's done this to.) Her mom turns up and cries so much her tears form the titular Swan Lake. Basically no-one performs this part anymore.

The Curse: a prince must publicly proclaim to love Odette and only Odette; if she is betrayed in love, she and all the other swan maidens are condemned to stay swans forever. Allegedly this will also happen if Rothbart dies before the curse is broken.

[Act 1 Scene 1] The production will probably start here, in a palace courtyard. Lots of partying and jolly dancing. Prince Siegfried gets gifted a crossbow. His mom tells him that tomorrow, at his 18th birthday party, he will have to pick a girl to marry.

[Act 1 Scene 2] Siegfried goes hunting! He sees a beautiful swan, who then turns into a beautiful woman. He is awed and they then fall in love. Corps de ballet is the other swan maidens, with divertissements of the four little swans and three large swans.

[Act 2 Scene 1] The birthday party. Lots of dancing in the form of divertissements. Siegfried turns down all the women his mother has thoughfully assembled, to everyone's shock. But then! The party is gatecrashed by a dude and his swan-y daughter, Odile – the black swan. The dude is none other than Rothbart, and Siegfried enspelled to see Odette when he looks at Odile. (In basically every production over, it's the same ballerina; all that changes is the color of the tutu.) Odette tries to fly in the window but is stopped. Siegfried proclaims his undying love to Odile, at which point Rothbart goes lol and draws back the curtains to reveal Odette behind the window, watching all this. Much drama ensues, Siegfried runs off, his mom faints, etc.

[Act 2 Scene 2] Back at the lake, Siegfried searches out Odette amidst the other swan maidens who have now all been condemned to an eternity as swans due to him. They meet and dance together. Then Rothbart shows up, and this is where things get interesting wrt potential ending variants. In a bunch of them, Rothbart takes Odette and she becomes a swan forever, and Siegfried tragically beseeches the audience etc (unless he's danced by Nureyev, in which case he drowns). In others, Rothbart gets defeated either by Siegfried killing him somehow, or simply by the True Love (TM) being so powerful it outpowers the curse; cue happy ending.

The Paris Ballet Theatre put on the happy ending which I believe is most popular in Russia: Siegfried steals one of Rothbart's wings (he is owl-coded), thus depriving him of his powers and defeating him. As usual, I bought the program, and this time they even had DVDs, so I bought one! Next up, buying an external DVD drive so I can rip it...

Dancing: Their principal danseur is very good at projecting this sort of naïve and innocent vibe, which fits Siegfried well. Their prima ballerina worked great as Odette, though Odile could've had a bit of extra spice. The costuming was amazing, with 109887 sequins on everyone, and I appreciated the slightly softer tutus (vs hardcore platter tutus) of the swans.

Also this is basically the Ballets Russes reborn. They dance Vaganova/Russian style, the dancers got their training in places like Armenia and the Komi Republic (in Russia), were soloists in places like the Bolshoi Theater and the Ural Opera (both in Russia), and the maîtrisse de ballet is Belarusian. Also the live music, The Orchestra of Budapest, is basically an international company formed out of almost exclusively Eastern European musicians, with a Belarusian conductor.

Note to self: rows G-P probably the best for seeing stuff, since it's far enough up that you can see the back of the stage/some of what the corps de ballet is doing formation-wise and aren't upskirting everyone nonstop, but close enough you can see expressions.

My February Ballet Experience was watching the Dance Theater of Harlem when they came to Paris earlier this week. (For the first time in 40 years!) The black girls turned out in force, and thus I was slightly less overdressed than usual. Also the Parisians did actually dress up for the Saturday evening, though uh very elevated basics, heavy on teh basic.

General notes:
The dancers looked to have a bit more muscle definition than usual; I think this is because the American ballet style (Balanchine) is aggressively BOING BOING, meaning that the ideal dancer has more fast-twitch muscle fibers, and is thus more inclined to put on visible muscle definition.

Both shows were ~2:30 long. Neither was one ballet through, but more of a idk variety show, with three half-times, all of which contained a different set of choreographies. More "look what we can do" than telling a story, y'know? (Except for their Firebird; thoughts on which below.)

This was mostly less pure ballet and more of an old and new together thing, with there being some pure ballet stuff, but also a straight-up jazz dance number, and an extended modern-ballet blend set to Motown/Stevie Wonder afrobeats. This one was cool, with the blend including incredibly specific ballet #moments, like Giselle's transformation sequence, seamlessly blended in. There was also a pure ballet section, where the lead danseur performed the Bluebird variation.

The current artistic director and lead choreographer is I think incredibly talented in this blend of classical ballet and other styles, as well as choreographing for things done in canon (in the round). The formations (lines of overlapping dancers etc) were well executed, too.

The star of their show/grand finale was the Balanchine choreography of the Firebird. Which. Um. The dancing was great! The costumes were pretty! The problem was George Balanchine going "The Americans cannot sit still for 45 min; I will make this 20 min". And the Firebird is a ballet that has zero fluff!

So, what were the changes?

Firebird variation #1: heavily abridged, in a way that takes away from her birdlike nature imo

Firebird & prince pas de deux: heavily abridged and rearranged in a way that makes the narrative progression make zero sense

Prince & princess: this one was mostly preserved, I think? The golden apples dance of princess and the other women (handmaidens, in this production) was very much shortened, tho

Koschei confrontation: heavily altered so that instead of the prince struggling against this powerful evil sorcerer whom he has no hope of defeating, they wrestle a bit, I don't think he was even losing, and then he summoned the Firebird for idk shits and giggles

Infernal Dance: COMPLETELY DELETED

like seriously, the Firebird just poofs up and everyone falls over? no making people dance until they drop? no THE ENTIRE POINT OF THE BALLET?

Firebird variation #2 (keeping Koschei's minions asleep): here she just waved her hands at them and made them roll away (so that the dancers could do a quick costume change), KOSCHEI INCLUDED, then she just danced in place a bit as FILLER

Koschei's death: did not happen. He simply exited stage left, not even pursued by a bear. prince was AWOL and did not retrieve any glowy soul eggs

Wedding tableau: This one was cool! The floaty afrofuturist Caribbean fish costumes of the women made the walking around of this bit look nice, and the Firebird appeared and was suspended in the air

So uh. The company is great, and you should definitely see them if you can, but the American Firebird sucks ass, regardless of performance. Really wish they'd do the original 45-min Firebird with those costumes tho.

Didn't, like, actually go to the ballet, but I wanted to see the Firebird and uhhhh good luck seeing that outside of Russia. So I turned to YouTube, and found this recording, in all its 360p glory. It's a short ballet, less than 50 min long, and the music is by Stravinsky.

Watch on YouTube

As for who performed it, well, I also found this recording of what looks to be the same production (with more close-ups) that says it's from the Bolshoi Ballet.

Watch on YouTube

This one (same props etc) claims to be Mariinskiy, though. It also has more pixels if you absolutely require 1080p. They made some changes to where the Firebird is during the bit where Ivan is taunting Koschei with the egg which I don't like (in the original, the effect is that she's really enjoying it; the revision, not especially).

Watch on YouTube

Pingu, I do not ballet; plz give synopsis

The Firebird: woman in red
Ivan Tsarevich: dude in red
Tsarevna: of the women in white, the one with the special costume
Koschei the Deathless: evil sorcerer dude with the staff

Ok so. Ivan is a prince, going to this enchanted wood (either to hunt the Firebird, investigate WTF is going on, or just to hunt). There, he sees the Firebird by golden apple tree and manages to capture her. She struggles to free herself, but he prevails. Then he realizes that the Firebird cannot live in captivity, and he sets her free. As thanks, she gives him her feather, with the promise that if he wields it, she will return.

Next it is dusk and thirteen princesses, captives of Koschei the Deathless, come to play with the golden apples of the tree. Ivan enters and has a Moment(TM) with the youngest, Tsarevna; they fall in love. Then trumpets summon the princesses back. Ivan wants to follow but is warned off. (The wall has a bunch of dudes who tried and were turned to stone.)

Of course our heroic prince doesn't care and opens the gates, setting off 198751834 alarms and all of Koschei's demons come at him. He fights some off before being subdued. Koschei himself then appears and tries to turn Ivan into stone. Ivan, in the nick of time, summons the Firebird.

The Firebird knows exactly what to do. She saves Ivan and makes all under Koschei's spell dance until they're exhausted and fall asleep. Then she tells Ivan the key to Koschei's immortality: he has his soul hidden in an egg that is hidden in a box.

Ivan, of course, immediately sets out to get this box. He gets out the egg, waking up Koschei, and taunts him for a moment before making the omlet.

Final scene: the warriors from the wall have been de-petrified, and reunite with their lovers, the twelve princesses. Group wedding! Ivan and the Tsarevna appear and also get married. They open the gates and walk away from the forest.

Anyway! I really like the Infernal Dance section, but also just the Firebird herself. She's sharp and powerful and her language of motion is so completely different from all the "classic" ballet protagonists that I can't help but love her.

In an effort to actually get some wear out of my formalwear, I have decided to take up going to the ballet. Here are the first two.

Carmina Burana (Paris Ballet Theater, Choir & Orchestra of Budapest)
I caught a matinee (16:00) at the Palais de Congrès and was basically the only person who was dressed up at all :'D Ah well. (Achivement unlocked: overdressed at the ~~opera~~ ballet in Paris.)

I reserved the tickets knowing absolutely nothing about what I was getting into, beyond "high culture", so I the fact that it was a ballet was a, uh, surprise.

Anyway. I loved it! There were basically two prima ballerina roles, and the music was great. More ballet should have a choir on stage. The, idk, multimediality? of having a soloist singer sing an aria while the dancers danced a pas de deux or variation was cool. All the drama was on point. I think this is a good production, and they're touring in the rest of France + neighboring regions, so if you can, I rec going!

I also bought the programme and basically everyone named, from production to roles, is from East of the Iron Curtain. (The one exception, The Temptress, is from Italy.) It's noticeable in how the style of dance is much more Vaganova/Russian school, with open shoulders and an engaged back. The same corps is putting on a Swan Lake in March/April that I will catch.

Notre Dame de Paris (Paris Opera Ballet)
This one was at the Opéra Bastille, and people did dress up! (Not all tho; I spotted several people in jeans and t-shirts, puffer coats, or sweatpants. Also a random old lady told me I was truly magnificent.) Sartorial observations below.

This ballet didn't end up working for me. Some of it was synchronization issues (several in the corps de ballet, but also one in a pas de deux between Esmeralda and Quasimodo), some of it was the costuming (all the women were in microskirts and the styling made them look at most 15), but mostly it was I think the fact that it's a French production.

You see, the French style of ballet is all about clean lines, exact positions, control, #chic, #cleangirl. It is fundamentally incapable of adapting Notre Dame because it is fundamentally incapable of depicting horniness. Phoebus and Esmeralda both lost their shirts during a pas de deux and it was not horny, Frollo was just an evil sorcerer who had a stick up his ass in an unhorny way, the prostitutes were unhorny and so was Phoebus dancing with them. I have seen hornier Swan Lakes. Everyone needed to go on a vision quest to find their inner Odile. The Quasimodo & Esmeralda worked, because that's based on innocent sentiment, but the Phoebus/Esmeralda and Frollo -> Esmeralda didn't come across properly at all. Also Frollo came across as sympathetic (99% sure unintentionally) because there's something just that pathetic about having a dude solo dance one half of a pas de deux while two people are dancing the actual pas de deux.

Esmeralda, in a microskirt, being not at all seductive.

However, this does choreographically give the entire corps de ballet (in fact, everyone but Phoebus) some movement stuff to do that's usually reserved for jesters, so this is the production to put on when your corps de ballet has jester envy.

Not super impressed with the company, but I guess I'll catch at least Romeo and Juliet in Apr/May before giving up. Also kinda want to see La Bayadère in Jun/Jul because I've never seen that before.

anthropological observations on clothing
The average Frenchwoman is rail thin, but more of a pear/spoon type – not much beneath, but even less up top, if you will. As such, the "dressy" clothing seems to be elevated pant + elevated shirt + nice scarf. Any dresses are cut incredibly straight in the skirt, at max a very drapey A-line. The goal is to look ~effortlessly put together~, i.e. spend an hour of effort to look like you simply pulled out the first two items from your elegant, curated closet and put them on without thought.

(The person sitting next to me was wearing an actual nice dress with a pleated skirt. Then her similarly dressed friend turned up and turns out they're Russian.)

(By French standards, I am tallish with a broad ribcage. I also objectively have broad shoulders, and an amazingly athletic butt and thighs. There is no way I am able to give the same vibes as the locals lol. Anything I wear will look more playful, intentional, and/or dramatic.)