I grew up in New York City during what may have been the golden age of ballet. My parents loved dance, and so they took me at an early age to see the greats—the New York City Ballet and American Ballet Theater, the Royal Ballet, and then the Bolshoi and other Russians when they came to town.
If there was a famous dancer of the 50s, 60s, or 70s I didn’t get to see, I don’t know who it might have been. I have fond memories of it all—which is a good thing, because dance is an exceptionally ephemeral art best seen in three dimensions rather than on film or video. There’s something about the power of dance, the sheer physical energy and the sweeping dimensions, the height and the breadth of the leaps and bounds, and the intensity of the emotions, that is sadly diminished when viewed in two dimensions only.
But two dimensions are all we have now for looking at the greats of the past. So they will have to do.
I’ve been taking notes for a post (still forthcoming) on one of the favorite ballet dancers of my youth: Maya Plisetskaya, whom I first saw in the late 50s when she was allowed a rare visit to this country with her company, the Bolshoi. The Bolshoi (means “big”) dancers were a revelation at the time, bold, dramatic, and powerful, and quite over-the-top. In retrospect, they may—and often do— appear corny and sensationalistic and overly emotional. But back then the Bolshoi Ballet was extraordinarily exciting.
Plisetskaya was a unique combination of femininity and power. Her leap was legendary, high and strong. Her arms were also renowned, as well as her ability to inhabit the roles she took on. She was perhaps best known for her “Swan Lake, ” in which her rippling, seemingly-boneless arms appeared to hardly be human.
But my favorite role of hers by far was in an obscure and very funky old warhorse that is rarely, if ever, performed in this country. This was the ballet “Walpurgis Nacht” from the opera “Faust.” Continue reading →