![]() In the same review quoted above, Macaulay notes of Cojocaru’s dancing and phrasing:Ĭonnections and contrasts continually illumine her dancing. Some dancers might emphasise the initial steps, others the later ones, with pauses inserted to produce a “breathing effect”, with very different results, as we saw with the Giselles of Cojocaru vs. Phrasing, emphasis and pauses – Consider a specific choreographic phrase.However, certain dancers will know how to find space in the music to give a personal interpretation on top of what may already be a “very musical work”. For instance, Balanchine focused on musicality and form over plot and character. Some choreographic works might be intrinsically musical, but this has little to do with the dancers being musical themselves.Here he performs Prince Desiré’s Act III variation from The Sleeping Beauty.įrom an audience perspective, one can also look for signs in the choreography: For example, while Baryshnikov might be considered the more technically flawless dancer, Rudolf Nureyev had the edge on musicality, which was very much part of his renowned artistry. Musicality is different from quality of movement. There are dancers who, despite not having the most beautiful port de bras or footwork, are wonderfully musical, so the overall effect is harmonious. ![]() Observe how she employs her arms during the developpés to make the choreography sing: Watch this clip of (again, we know!) Alina Cojocaru in The Sleeping Beauty‘s Rose Adagio. Some dancers are born with the talent of responding to the music, but this gift can be perfected with time in the studio finding a way to elongate a phrase here, or to cut it short there. See her solo:Ĭontrast with Diana Vishneva’s more mannered, yet not less musical rendition: Now compare these two Giselle clips. First, Alina Cojocaru has a very naturalistic, instinctive take on the role. Alina Cojocaru, he noted, adjusted her dancing to arrive “after the beat” – a signature of “Romantic responsiveness” – whereas Diana Vishneva “unlike many Russians, danced a few steps on the beat, pingingly”. Alastair Macaulay referred to certain aspects of this in his recent review of ABT’s Giselle. Some dancers are incredibly sharp when it comes to following counts and beats, but this doesn’t automatically translate to a musical quality. ![]() Two “musical dancers” might have very different ways of responding to the same music.
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