At one point during a principal woman’s solo, I became aware that the corps women, arranged in three florets framing the stage, were slowly, almost imperceptibly, blossoming open as they moved from a standing position to a kneeling one—with one woman in each bunch remaining upright in the middle like a stamen. I wanted to applaud like crazy for them, but not exactly for the
I caught the last performance of the Mariinsky’s run at BAM and it was quite interesting. The company danced three ballets to the music of Frederic Chopin—to piano alone—with choreography by Michel Fokine (revised by Agrippina Vaganova), Benjamin Millepied, and Jerome Robbins. The Mariinsky is a remarkable company: with complete uniformity of line and limb, their bodies and positions are stunningly beautiful. Chopiniana, the 1908 sylph ballet by Fokine, opened the program and had a large corps of women who were possibly the most synced up group I’ve seen besides the Rockettes. (Inexplicably, these women did not get any credit in the program; there was not even a list of their names.) Their stylized torsos and arms were absolutely identical; the patterns they made were perfectly symmetrical. It was a most impressive feat. This synchronicity and attention to detail were among the highlights of the afternoon.
At one point during a principal woman’s solo, I became aware that the corps women, arranged in three florets framing the stage, were slowly, almost imperceptibly, blossoming open as they moved from a standing position to a kneeling one—with one woman in each bunch remaining upright in the middle like a stamen. I wanted to applaud like crazy for them, but not exactly for the
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