It's just the Black Swan pdd in a 2 hour program of classical music, but if you don't live in the UK and get BBC, it's a nice opportunity to see Zenaida Yanowsky, principal in the Royal Ballet dance with Roberto Bolle. Plus it's been "specially choreographed by Anthony Dowell". A rather wonderful picture of them both is <A HREF="http://www.bbc.co.uk/musiclive/backstage.shtml" TARGET=_blank><B>here</B></A>.<P>The programme isn't up yet so I have no idea when they're dancing exactly but it's 1/6/02 at 8:10pm GMT.<P>Go <A HREF="http://www.bbc.co.uk/musiclive/webcast.shtml" TARGET=_blank><B>here</B></A> for the webcast.<p>[This message has been edited by sylvia (edited June 01, 2002).]

I saw the "Prom at the Palace" and was impressed by Yanowsky and Bollé, up to a point. Bollé is certainly a beautiful technician and a very handsome man. I can't fault his dancing technically, but I prefer dancers with a bit more passion. I'm not referring to emotion or acting, but rather to throwing oneself more into the movement. I may just be getting behind the times -- generally, male dancers everywhere seem to be focusing much more on high extensions, beautifully pointed feet and split grands jetés than they used to, and less on taking risks.<P>I'd be very interested in seeing more of Yanowsky, because I don't think the Act 3 pas de deux is the best way to show off the dancing of someone with her body type (for those who haven't seen her, she's very tall, slender and flexible, definitely the slow-twitching muscle fiber type). I looked up some reviews of her and, not surprisingly, critics loved her as the Lilac Fairy, the Queen of the Dryads, Myrtha and other roles often performed by tall dancers. She has beautiful line and port de bras, and I can imagine her being wonderful as Odette. She did a couple of very impressive renversés. But for me, she just didn't have enough attack to look convincing as Odile. The stage didn't seem very big, so maybe she just needed more room to move in. Anyway, I'd really like to see her again, but in a different role.<P>Does anyone know just how tall she is?<p>[This message has been edited by djb (edited June 02, 2002).]

I thought Yanowsky seemed uncomfortable with the floor - afraid she might slip. It looked like a normal ballroom floor. Marvellous, marvellous setting, though, and Bolle looked exactly as a prince ought to look, though of course real ones hardly ever do. The conducter had said earlier that he had found it difficult to co-ordinate music and dancing in those circumstances.

I enjoyed it a great deal and both Zenaida and Roberto looked wonderful. I agree that she looked a litte uncomfortable though, kinda nervous at the start, while Bolle was very assured. But it's an unnatural setting having to play to the cameras rather than an audience.

I didn't see it but it wouldn't surprise me if they had given the floor a really good polish before this very important Royal occasion and of course it wouldn't be sprung. So I can imagine that it might have been a bit scarey for Zenaida. She is a superb dancer, who has had a very good year in the parts given to her at the Royal Ballet. She is also a great dance lover with eclectic taste and is often seen in venues large and small with her clever and jolly partner William Tuckett, a fine character dancer and choreographer at the Royal. <P><p>[This message has been edited by Stuart Sweeney (edited June 02, 2002).]

You're right about the floor Stuart. I definitely can't blame them for being a little cautious. Anyway, the webcast is still up at the same site if anyone's interested.<p>[This message has been edited by sylvia (edited June 02, 2002).]

Thank you Sylvia for that very interesting webcast site. I was watching the Coronation by Handel, concert. Really wonderful.<P>And Congratulations Queen Elizabeth and to all of the people of Great Britain. I wish you many, many more glorious years of life and friendship.

What fun!..I've just finished watching the Pas de deux on a teensey (5") black & white portable here in my office. It's being broadcast on PBS and wonder of wonders I was able to tune in - a bit fuzzy but still OK. What a wonderful break from five hours of accounting! It was hard to see many details (5" is pretty small!) but I have to agree about the renverses - absolutely stunning! I really don't think they were dancing on the actual floor - it looked like there was a dance floor laid down as you could see the straight edges all 'round it and I can't believe they would risk a dancer falling on a slippery floor in front of millions of people. Anyway...back to work...Malcom Arnold's Country Dances are on now. This is the only way to work on a Sunday! Noreen

A slippery floor could definitely account for the tentativeness I noticed.

Yanowsky is a wonderful dancer - unfortunately we don't see enough of her. I would have liked to have seen Bussell and Cope dancing as well - our old timers from the Royal Ballet. I agree with Stuart though that the conditions in the Palace are more for lounging and posing than for dancing foot perfect. A magical setting though.

Can I just ask, are renverses (or is it reverses?) the changements Zenaida did at the end of the pdd where she jumped backwards, opening her legs out into 2nd? Oh well, if they were I was really impressed myself!<p>[This message has been edited by sylvia (edited June 02, 2002).]

I will give you the official definition from Gail Grant's "Technical Manual and Dictionary of Claassical Ballet"...<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Upset, reversed. Renversé en dehors with relevé: Fifth position right foot back. Failli to the left; coupé dessous left, throwing the right leg to croisé devant en l'air. Execute a grand rond de jambe en l'air en dehors with relevé on the left foot, finishing in attitude fondue. <P>The right foot then starts a pas de bourée dessous en tournant, during which the body is forcefully bent from the waist to the left and then to the back. The first two movements of the step are done slowly with the pose in attitude held a moment, then a quick backbend in pas de bourrée.<HR></BLOCKQUOTE><P>Think of it as a grand rond de jambe relevé with the leg held a moment in an attitude derriere, and the upper body bent severely at the waist away from the lifted leg, and then quickly the turn is completed, usually with a pas de bourrée out of it. It's a VERY difficult step to do because it demands a great deal of control, with the body seemingly totally tilted off center.<P>If a picture is taken of the final pose (before the pas de bourrée out of it) the ballerina will be in fondu with the right foot back in attitude croisé and it looks as though the foot iscoming out the back of her head.<P>It can also be done en dedans - but the look of it is quite different - there isn't that spectacular bend in the waist.<BR>

Thanks Basheva, that does help!

It was that suspension when her leg was in second that was so unusual and impressive.

A dance floor was laid by the the staff from the Royal Opera House but as that was over the ballroom floor I assume that it would still have felt very different to the sprung floor at the Opera House.<P>I thought they looked wonderful!