It’s my general observation that partner-assisted pirouettes and finger turns have gotten progressively slower since the 1960s. The ladies used to attack these somewhat furiously, with a passion, arms folded in much tighter to accommodate this. Nowadays they are generally more slowed and controlled (barring Forsythe’s work, perhaps).

I must admit I wish the contemporary artists would find middle ground between technical perfection (slowness) and joie de vivre (fury) in these turns.

I absolutely love the music, but, frankly, the dancing seems to me to be a distraction. That is why I very much appreciate your posts on ballet: a reminder from someone I respect that my own view is not only limited, but that others have sensations that I am unaware of.

This is actually a political point. Each of us is an individual, and just because I dislike something, that doesn’t mean that someone else might get a lot of pleasure out of that same thing. Therefore, I should not try to control what others can do based upon my own tastes.

Thank you.

This is the first time I’ve seen Semionova, and she is technically brilliant, almost on par, say, with Diana Vishneva. But, I still prefer Makarova and was pleased that all these years later this video clip validates my memory of her dancing Odette. She was stunning on stage and it was just so easy to get lost in her dancing. As for Pisetskaya, somewhere we have packed away an unofficial VHS recording of her dancing Swan Lake and she was spellbinding – and more swan than woman to boot!

The extreme extensions of the modern dancer are definitely a double-edged sword – as you say, it makes Semionova more otherwordly, while the other two dancers are more female and, well, human. The most glaring example is Semionova’s leg-in-the-air on those over-the-shoulder lifts, which the other two dancers give more finesse, if less extension.

Semionova also seems to be moving from pose to pose. Both the other dancers link the motions and give them more emotional content – for example they both “drive” their pirouettes directly to the final pose, which gives them an expressive logic. Semionova seems to be moving through disconnected poses.

She’s also the least connected to her partner most of the time – although it seems that the other two stagings use much more expressive variations in the arm motions and interaction between the dancers. I don’t recall Semionova doing the back-bend that Plisetskaya does while facing her partner. And you’re right that Makarova directly addresses her partner more.

Plisetskaya is my sentimental favorite because of her personal story – but Makarova strikes a wonderful balance between technical excellence and expression.

I thought I’d announce it.

I wouldn’t describe Semionova as emotionally aloof. But I do see something that I guess is what you’re talking about–some kind of reserve. To me it registers as almost anguished, powerful emotion under powerful restraint, which to me is often very moving. Makarova is more open and in a sense warmer. Trying to focus my impression on the pure aesthetics of movement, I’d be hard put to chose between them.

I think I was more touched by these than any ballet performance I’ve seen, which is not very many at all. So thanks. This is fascinating.