this thread could go on forever... <P>an interview for the times, by debra craine. a pleasure to read, especially towards the end - but i hate seeing that phrase "her waning years"! (and i can't AGREE with it - for the very same reasons which guillem raises towards the end of the interview):<BR> <A HREF="http://www.the-times.co.uk/news/pages/tim/00/04/10/timartdan02001.html" TARGET=_blank>http://www.the-times.co.uk/news/pages/tim/00/04/10/timartdan02001.html</A> <P>not new, but while i'm at it, a nice interview-based article regarding guillem's "marguerite": <A HREF="http://www.telegraph.co.uk:80/et?ac=000148269364269&rtmo=VMkMq6gK&atmo=99999999&pg=/et/00/2/26/btguil26.html" TARGET=_blank>http://www.telegraph.co.uk:80/et?ac=000148269364269&rtmo=VMkMq6gK& atmo=99999999&pg=/et/00/2/26/btguil26.html</A> <BR><p>[This message has been edited by grace (edited April 15, 2000).]

There's one phrase in there that I can't agree with: the one that states that Guillem "is a Marguerite to rival Fonteyn." Hardly. <BR>[This message doesn't sound the way I want it to~~I didn't have much time to write it. Read below for a better explanation of my opinion.]<BR>------------------<BR>~Intuviel~<p>[This message has been edited by Intuviel (edited April 28, 2000).]

Dear Intuviel,<BR>I know what it's like when you have a passionate connection with a particular dancer, in a particular role and although another dancer will never dance it the same way, we are enriched by diversity. Also I believe seeing is believing and that we should not make a decision on something until we have seen it ourselves, this also goes for taking another persons opinion of something. Sometimes when you leave the door open you can be in for some wonderful surprises.<BR>Regards - M

Grace, I agree with you . My reaction to that statement was based mainly upon the fact that I have seen both Guillem and Fonteyn dance many times (though the latter, only on video) and they seem like opposites of each other. Guillem is so flashy and over~the~top, and Fonteyn is so subtle and magnificent. I've seen Guillem do a fiery Kitri, a seductive Odile, and more than one bland Aurora and Odette (one bad performance is fine, but six???). Meanwhile, I doubt if Fonteyn would look wonderful in, for example, Herman Schmerman, which is perfectly suited to Guillem's gifts. That I why I doubt that Guillem would be good at Marguerite and Armand~~there aren't any flashy technical things for her to do. It's mostly acting, in which Guillem does not seem (based on my experience of her) to excel. Of course, if someone has a different opinion of Guillem's theatrical gifts, that is fine. I would actually like it if Guillem did surprise me and turned out to be wonderful in Marguerite and Armand. That would be fabulous. What I meant to convey in my earlier post was that I disagreed with the statement that Guillem was likely to rival Fonteyn in M & A~~nothing more. I do not dislike Guillem's dancing; I only feel that she isn't quite suited for the role. Hopefully, she will prove me wrong . <P>------------------<BR>~Intuviel~

Hi Intuviel,<BR>I've never met an Intuvial before, where does your name come from?<P>Every person I know who saw her said she was extraordinary and some of these people used to hate her! <BR>I haven't seen it myself, but over the last two years have witnessed a complete transformation in her, not at all "cold" anymore. And this emotional liberation, coupled with her physical capacity, is something completely new.<BR>She has discovered acting and taken to it like a fish to water. And in Nicolas Le Riche has an equal partner who she can fly sparks off.<BR>Everyone also said that in M & A, she was closer to the real age of Marguerite, which did a great service to the original story and Ashtons ballet. Which now may have an ongoing life.<BR>They are dancing it together again in June at Covent Garden. <p>[This message has been edited by Michael Montgomery (edited April 28, 2000).]

Actually, that's not my real name at all~~I made it up because my parents won't allow me to give out my real name (which I think is intelligent of them ). <P>I am very glad (and a bit surprised) to hear that Guillem can act now! That is wonderful news~~I am actually going to see her dance in June at Covent Garden, and am glad that I can look forward to the experience. <P>Grace, thanks for the URL~~I don't actually mind photos of Guillem (although she does seem to have her leg next to her ear in most of them). I guess if we're trading web sites, I can put up the URL to mine; it's <A HREF="http://www.freetown.com/Uptown/HaightAshbury/1055/ballet.html" TARGET=_blank>http://www.freetown.com/Uptown/HaightAshbury/1055/ballet.html</A> <P>I'm planning one or two new sections for it, which should be there soon. <P>Michael, Grace is right~~those are some beautiful photographs! I'll explore the site in~depth later; do post the address of your new one when it's finished. <P>------------------<BR>~Intuviel~

Yes, word is that Guillem isn't in for any one-to-one interviews while she is in Australia. It's rather sad. I thought of pulling my old ballet gear and Freeds out of the box and trying to make small talk in the Opera House canteen, until I read that she doesn't enjoy idol chit-chat with other dancers. <P>I wonder: Can we believe everthing we read?<P>Nevertheless, I'm soooo curious to see her perform, especially after reading this thread

Grace, I don't suppose you travelled to Sydney to attend the Guillem press conference? Do ballet companies and stars normally hold big conferences like this in Sydney? In Hong Kong they do too, but we don't really have that many ballet visitors.

I was in the fortunate position to attend a press conference yesterday with none other than Sylvie Guillem (I refuse to call her by her nickname “Mademoiselle Non”). It was my first press conference ever and I too, asked myself whether press conferences are a common occurrence here in Sydney –being new to the media scene in Australia. To be honest, I doubt even Sydney has had that many opportunities to welcome such big stars as Guillem, hence the media conference. Besides, Guillem prefers to meet all the lions in one cage, rather than brave them one-on-one.<P>The beautiful prima ballerina with long slender proportions, muscular arms (her legs were hidden under the table), a long mane of red-brown hair and an ageless face was a delight to talk to at yesterday’s press conference. This fabulous dancer with the unusually formed hips (they allow more freedom of movement than the hips of a “normal mortal”) left no hint of the reasons she has been called “difficult” by international press. I was surprised how spontaneous this French woman’s English was, until such questions as: What do you think of the comment: “Your waning years?” Nobody likes to be called “aging” when they reach the peak of their productivity!<P>Today’s media call, however, was a different matter. Guillem, the “moody performer,” was back in full force. Journalists from across Sydney and beyond (one woman flew in from Brisbane and raced to the theatre for the Australian Ballet’s media call in which Guillem was to rehearse “Bolero”) gathered at the entrance to the Capitol Theatre in the hope of watching a dress rehearsal of the company’s Olympic Arts Festival premiere and were disappointed. After a 20 minute wait, we were invited to watch a portion of tomorrow evenings program, while anyone reviewing was turned away by the AB’s publicity people, with the suggestion: “Come back for tomorrow night’s premiere.” The fact that the premiere of Guillem’s debut with the Australian Ballet is sold out seems to have gone unnoticed.<P>I managed to slide through the cracks to watch one piece on the program “Personal Best” by Stephen Baynes, resident choreographer of the Australian Ballet. I had better not comment on what I saw as my lips have been sworn to secrecy. My best laid plans of mice and men, to sink in my chair and catch a glimpse of Bolero, were stopped short as the red table was being set up Centrestage –I managed to hang around while 37 red chairs were positioned on stage, only to miss Guillem! <P>However, the human side of me (that isn't looking for a story) understands Guillem's actions. Why let the cat out of the bag at her first ever appearance in an Olympic Arts Festival, when the world's olympic athletes give us just one chance to view them crossing the finish line?<P>------------------<BR>[This message has been edited by Jennifer]<BR>

Jennifer, many thanks for the fly on the wall briefing. Just let me know if you ever need a disguise. I have a cupboard full of ginger beards, wigs, dark glasses etc.<P>Do you have a ticket for the first night? Feel free to play the criticaldance card if you want to impress the Exec. Management of AB!<p>[This message has been edited by Stuart Sweeney (edited September 07, 2000).]

Grace, I forgot to answer your questions re: my Freudian slip. Yes, you're right, it was one of those. You always manage to pick them up when I write to you or post on the board. I’m often told I’m an open book, I guess they’re right.<P>That brings me to you Stuart. Maybe I do need one of the disguises you offered me. To answer your questions, yes, I do have a ticket for tonight's premiere. I can't wait to see it! I doubt that pulling the "cd.com card" would help me here at the moment. There simply aren't any seats left. I am lucky I ordered mine months ago.<BR><P>------------------<BR>[This message has been edited by Jennifer]<BR>

Hi! I’m sorry it's taken me so long to re-enter the conversation. Grace, in answer to your question--I asked Sylvie what she thought of the description "her waning years" which, as you know, was written in an Australian newspaper. Why did I ask her that? Because, it was a matter of one dancer talking to another AND the writer of the article was most likely in the conference and I was hoping to slightly embarrass him/her. How? Well, as you said, the suggestion that Guillem is in her waning years is outrageous! She's at her peak and she knows it. She revels in being at the top of her productivity and no outrageous comment in the world could bring her down. <P>Guillem was fabulous in Bolero, her eyes mirrored her seductive soul and her body carried out the action of seduction ever so subtly. She obviously spurred the Australian Ballet to great heights too, as the dancers were brilliant in every piece, beginning with Kylian's “Bella Figura,” then Baynes' “Personal Best,” concluding with Béjart’s “Bolero.” I think everyone in the audience wanted to see Guillem and the 37 men surrounding her dance the piece all over again. <BR><P>------------------<BR>[This message has been edited by Jennifer]<BR>

Many thanks for the review Jennifer. I can't wait for Sept. 25th when I will see Sylvie performing 'Bolero' with Bejart Ballet Lausanne at Sadler's Wells.<P>After the disappointment of Roland Petit's 'Bolero', even with Irek and Altynai, I was not building my hopes too high. However, from your review it sounds as though it is in a different league from Mr Petit's dire version.

Guillem has been nominated for the Prix de la Danseuse. Other nominees include SF Ballet's Lucia Lacarra and ABT's Paloma Herrera. The public gets to vote, so you may want to check out this website (click on "artistes nominés"):<P> <A HREF="http://www.mddf.com/fr/page_awards1.htm" TARGET=_blank>http://www.mddf.com/fr/page_awards1.htm</A> <p>[This message has been edited by Azlan (edited September 13, 2000).]

The competition is an interesting initiative, although given that it is a French language site, it seems highly likely that Sylvie will end up the winner. I fully understand the inclusion of SFB's Lucia Lacarra, who was extraordinary in all three of the performances I saw in London. <P>I'm interested what our American freinds think about the inclusion of Paloma Herrera. I was impressed with her performance in the video of ABT's 'Le Cporsaire', but I know that some US writers are critical.