I still have to say, I have never seen this dancer in a live performance. However, a very kind person sent me a tape of Tsiskaridze dancing. The tape is about 90 minutes long and I have watched over half of it. <P>So far the tape consists of excerpts of him dancing in about 8-10 ballets, everything from the Giselle/Swan Lake/La Bayadere classics to some less well known (at least to me) ballets. Some of the dances consist of the bravura male variations, and some of adage or petit allegro - almost all solo work.<P>I can tell you what I have seen on this tape. This is a stunning dancer. Long lines, manly but not overwrought thighs, and complete control. Even in petit allegro at quick fire tempo the feet were fully stretched and the body held with ease. Fluid deep backbends - in some of the choreography even more deeply than I have previously seen.<P>His extensions are light and easily as high as the women; 180 degree penchés, exquisite deep renversés. He did a slow promenade in arabesque well over 90 degrees -perfectly, without hesitation and without a bobble. Consistently tight chainé turns. Equally consistent in triple tour en l'air his preparation was a tight fifth and it did not open (as often happens) as he took to the air. Most dancers will allow that fifth position to open just as they take off into the jump. <P>He has the ability to create gaspingly exciting shapes in the air and make them fully visible - easily visible. If you blink, you still don't miss them. The shape in the air is held so that it implants upon the retina of the viewer.<P>Grand jetés that rise lightly, effortlessly, and hover - all so easy. Also with ease are a full repertoire of the most difficult turn combinations with multiple rotations, all landed smoothly. Those that he lands to fourth position on one knee - he doesn't crash into that landing. He doesn't use that knee landing to 'save' the turn - no, he pauses ever so slightly and then melts into that one-knee landing. Exquisite.<P>In Chopiniana/Les Sylphides when he and the ballerina do the chasé levé arabesque de coté de coté, his feet were as beautiful and as stretched as the ballerina's.<P>I did see a bobble in the Dance of the Golden Idol (in another excerpt he dances Solor), but that bobble came after doing that devilishly difficult turn combination that rises from the one knee on the ground preparation - as I recall the bobble was on the third in the series. Well, he is human.
<P>So far, he doesn't look sloppy to me, at least not on this tape.<P>I should add that all of this was obviously taped at live performances - not set pieces that could have been filmed over and over again....nope, there was live audience throughout. <P><BR><p>[This message has been edited by Basheva (edited June 28, 2002).]