Books and Discs
Here's a long-awaited treasure: Irina Baranova, her biography, University Press of Florida/Gainesville. As the last of the glamorous ballerinas, Baranova recalls her legendary life onstage and offstage. Beginning with a foreword by the renown British critic, Clement Crisp, the book, in Baranova's words, describes her family's flight from Russia during the 1917 Revolution; study in Paris in the 1930s, where she was chosen to be one of Balanchine's "baby ballerinas;" journeys around the world in Colonel de Basil's Ballets Russes, where she performed her unforgettable interpretations of the classics and the new works of the time: "Cotillon," "Union Pacific," "Les Présages," Nijinska's "Les Cent Baisers" Fokine's "Bluebeard" for Ballet Theatre and many, many more works. The pages fairly drip with names and photos of the most significant artists of the time. For any ballet student, teacher, critic, historian, "Irina" is delightful and historically valuable, not only because of the account of her glittering life on and off stage, but for an account of the most significant events in dance of the time that shaped America's interest in ballet by bringing an exotic legacy and innovative works. The image of Baranova, once you had seen her dance, remained in the mind's eye for its beauty, unpretentiousness and elegance.
Today, Baranova is a fellow and
vice-president of the Royal Academy
of Dancing and president of the Guild
of Licentiates in Australia. Irina is available in bookstores or by calling 800.226.3822.
Although many great photographers had photographed Martha Graham in the last century, Acts of Light: Martha Graham in the 21st Century, by John Deane and Nan Deane Cano is a book of colorful photos taken as promotional material for the more recent Martha Graham Dance Company. Deane, a dance, fashion and portrait photographer, has managed to capture the passion of the dancers as they recreate the works of Graham...the great 20th century icon. The book contains interviews with the new generation of Grahamites and is available from University Press of Florida/Gainesville at the above number or through amazon.com.
Still in the modern dance world, A Game for Dancers: Performing Modernism in the Postwar Years, 1945-1960 by Gay Morris, a dance and art critic, looks at modern dance from the pioneering 1930s through the '40s and '50s and up to the present time with a scholarly perspective. The 'game" is a complex subject that raises more questions than it actually answers. Included are theories, reviews, critical supports and references to artists and musicians. There are a number of archival photographs of concert dance performances. The book begs another volume from Morris to take us to the present time. It is available through www.wesleyan.edu/wespress.
On disc: "Ballet Class," by Barbara Malcom Riske, displays her exceptional experience as accompanist for the foremost companies in the world: American Ballet Theatre; the International Ballet Competition in Helsinki; and most challenging, for the Vail International Dance Festival's world-renown artistic directors of companies that appeared at Vail each summer. There, she had the knack of quietly, watching an unfamiliar ballet master give subtle indications of tempo and shape to the movements for the company class. Her response was instant. She instinctively knew the proper accents and phrasing required.
In this album, there are surprise choices in the form of "Russian/Riske" for big jumps that provide solid and tireless support. Riske began her career by playing for ballet classes at the Royal Winnipeg Ballet, while still a university student. She has possibly the largest range of experience of any accompanist anywhere. In this disc, with a 4-count intro and repeated exercise, Riske is at her best with her own compositions, sprightly and up beat, just right for batterie. Ernesta Corvino is the teacher for this elementary, intermediate, advanced CD #6088, from Roper Records.
Harriet Cavalli, in "Ballet Class 1," provides a gentle, firm accompaniment that always lets you know where the count of "l" is. With a 4-count intro and a faster version, for a repeat of tendues jetés, for instance, the class is structured by Martin Schläpfer, 1977 winner at the Prix de Lausanne, who performed in several international companies, and became artistic director/choreographer of the Bern Ballet in 1994. Cavalli gives a 2-count closing for ending properly in Fifth Position at the barre or in a
balance. She also does a "drop" count here and there, just to spark up the
concentration.
Cavalli, is an American, who studied at the New England Conservatory of Music under accompaniment training by Perry Brunson. She worked at American Ballet Theatre, the Joffrey and Harkness Ballets. (Don't be surprised if you hear a Gershwin or "Cakewalk" tune in one of the exercises.) After returning to Europe, she worked for the Zurich, Basel and Bern ballet companies, and now is company pianist for Schläpfer's BallettMainz in Germany. "Ballet Class 1" and "Ballet Class 2," are available from fperi@roperdancemusic.com. Be sure to send for the Roper catalogue.
Although no video or film can capture the excitement of dance, not having any footage to remind one of the actual performance is better than relying on memory. Perhaps. Victor Jessen, a Danish-born eccentric living in Los Angeles, hid his 16 mm camera on his lap covered by a dark cloth, as he ground away every 30 seconds illegally filming ballets in the 1940s from the audience, Again and again, he was evicted from performances, but a balletomane has an incurable disease. His footage had no sound and he insisted on editing the film himself. It was a long time before the Dance Archive at Lincoln Center could wrest him from his collection and obtain his cache. Now, however, a DVD released by Video Artists International has made available Massine's 1938 "Gaité Parisienne" in a 1954 version with the exotic and sparkling Alexandra Danilova. Offenbach's infectious waltzes and can-cans are familiar, yet in this ballet sound new and fresh. Frederic Franklin, Danilova's partner (he is still performing at American Ballet Theatre in bit roles at the age of 92) adds an inside view with his commentary. Call 800-477-7146.
Just seen on PBS in association with France 2, WNET New York and Opus Arte, was Balanchine's 1967 work, "Jewels." The full-evening work, filmed on the Paris Opera stage with artists from the company, was a pristine interpretation, with the French technique of quick beats, and floating arms, enhanced by charm, all in evidence. The first portion of the ballet, to music of Fauré, "Emeralds" is in the French opera style Balanchine knew so well...and frequently disliked. "Rubies, to Stravinsky, is the epitome of his jazzy, saucy, innovative, New York choreography...flexed feet, flexed wrists, a few discreet grinds and bumps. But it was in the "Diamonds" last section, to Tchaikovsky, that the grandeur of Balanchine's presence was most missed. During his time, whenever there was a trip to "L'Heure de Concert" filming in Canada, Balanchine would restage exits and entrances to meet the needs of the camera that he knew so well from his Hollywood days. Missing, as well, was a ballerina the serene stature of a Suzanne Farrell in this section, a standard surprisingly not met by Agnès Letestu, an international favorite. This head on, documentary version shot from the back of the house holds interest only so long. But it was better than restaging it by lesser artists. While this program had none of the excitement of a great performance, and is not a jewel, it did have some glitz here and there. Better not to have tampered with the choreography. Check your local PBS listings for a repeat.