"Rose Adagio" SLEEPING BEAUTY (Margot Fonteyn)
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- čas přidán 17. 09. 2019
- Here's a newly restored video from what I believe is a 1969 film of Margot Fonteyn at age 50! It's clear her solid technique was still intact, but what is more obvious is the complete joy she portrays, and the correct musical tempo. Too often today the music is destroyed by ultra slow tempi so that the ballerinas can get their legs up higher..but this ruins the drama and logic of the choreography. In this film it's much clearer the intent of both the composer, Tchaikovsky (in one of his most sublime and exciting compositions for ballet) and the choreographer Marius Petipa. This is supposed to be about a 16 year-old Princess trying to decide on a suitor.
- Zábava
For me, she is the best Rose Adagio I have ever seen, she is doing non-gymnastics ballet, she doesn't have to worry about her leg going to infinity, that makes her relaxed, happy on her 16th birthday; I have not seen that expression in any other dancer. All have an ideal role, for me Margot's is Aurora.
And Odette/Odile, and Giselle
Her Act2 pas de deux of Giselle is here on You Tube, with Nureyev.
what is gymnastic ballet?
@@GuruRasaVonWerder Over-extensions that you see in gymnastics.
well said!
The glorious great Margot Fonteyn. Absolutely stunning! The greatest Aurora there ever has been or ever will be. Perfect line, sensationally musical, exquisite phrasing, immaculate technique, radiant, beautiful, joyful and thrillingly exciting. What more could you want? I loved her deeply and will never forget her in this role.
I just love her musicality. She truly had magic. My understanding, as a retired ballet teacher, is that her impeccable "placing" (no distortion of hips or ribs due to 180 degree extensions) enabled her to dance beautifully for so many years, as well as, certainly for me, to be aesthetically more pleasing and truly artistic, than the "splits on one leg" that one sees today.
I absolutely agree. The vertical splits are bordering on ugly!
Nice to see a ballerina that is not stick pin skinny.
her placement, excellent training and harmonious bodily proportions that dissipated the strain were all factors in her long career
She was one of the best Auroras.
I say her career longevity should not have been an outlier. It should be the norm for all female dancers. This is what proper training and proper positioning does for a body specifically chosen for balanced features. Most schools choose body types that should not be dancing ballet no matter how impressive they look.
Kerry Takashi what a truly intelligent comment. Thankyou!
As Ashton said,"God-like proportions." The greatest Aurora.
The ballet is not about the body type of dancer. Many have been outside of norm of 'built for ballet', like Pavlova, Baryshnikov, etc. It was NEVER a thing for the ballerinas to dance into 50s.
They probably get too many injuries from being overworked and being much too thin for much too long. If you hear about in how much pain they are just getting up in the morning and having to do icebaths and roll around on foam and tennisballs. That can't be right, stress fracture in the feet they dance on. One girl described stretching and doing a backbend and she broke her back, a young girl.
If they took it easier they would last a lot longer. Same goes for moderns singers, too loud too often and they can't sing anymore by age 40
It amazing how she captures the essence of of a joyful and effervescent sixteen-year-old Aurora! In this clip, it's as though she is her.
Aurora is the perfect role for Margot Fonteyn.
Fonteyn's assuredness in the final promenades and balances always impressed me. I love the fact that each suitor is able to keep his distance until the previous one is out of the way, all while Fonteyn is balancing. None of the all-too-common putting the offered hand practically right next to the previous guy's hand.
Her artistry is absolutely unmatched. Her command of the stage is so beautiful you can't take your eyes off her. Gorgeous port de bras make up for lack of extension. I've seen Rose Adagio about 100 times by as many ballerinas, and Fonteyn is just the best. She is glorious!
There have been many wonderful dancers down the years, but Margot is simply in a class of her own 💖🌹⭐️
This lady had everything as a ballerina, grace,beauty, dainty,pride of Britain
This is wonderful. Technique not with high legs but her musicality, charm and telling of the story is amazing. She can do those balances like no one else can. Thanks for posting this.
I cry every time I watch this. Margot is a legend. 💜💚💜💚💜💚💜
Margot knew how to perform and had the most beautiful smile. It made her enchanting to watch
Her musicality...her balance...artistry...so wonderful to see! I love her attack when finishing those pirouettes too, brava 👏🎶🌟!!
She looks so incredibly joyful in this! It’s not hard to believe she was having the time of her life as Aurora on her birthday
And over 50 here! Still the best acted and most musical of any Auroras I’ve ever seen.
@@jcliff26 I was told most are 'finished' today by 35. Why is that?
@@GuruRasaVonWerder Not true.
She proved that ballet is Art.. joyful to to watch
Straordinaria, unica! Si dice di lei che sul palcoscenico sprigionasse una magia dovuta a lei stessa e non alle sue qualità tersicoree. Io so che il suo Adagio mi cattura e mi imprigiona in un incanto che sembra non dover finire mai. Dicono che sia la più brava ballerina di tutti i tempi. Non lo so, ma vorrei che non smettesse mai di ballare...Anche Carla Fracci fu indotta a fare la ballerina vedendola ballare...e lei se ne intendeva...
BRAVO!!! BRAVISSIMO!!!
VIVA MARGOT!!!
My favorite ballerina and greatest AURORA in the history of the role. She brought English European Elegance to AURORA, qualities which can't be taught. Love the "Right Angle", placement of the attitude instead of the "Demi Arabesque", attitudes from other schools. Watch her "Nutcracker", grand Pas' with Somes, a true authority in style and virtuosity. To this day, no-one, surpasses the legendary Rudy/Margot 1964 "Le Corsair", grand Pas'.
iconic. you can but love her, and the more you watch it the more you understand dance. the true one
Wonderful to see how she attacks the attitude into the promenades!! Her line is second to none and a wonderful upper body proportion. No one comes close to this performance it's all there, attitude, technique, glorious line, and musicality-perfection.
what is 'her line?' What are promenades?
@@GuruRasaVonWerder Line is how the dancer creates the positioning of the entire body, not just a traight line but the curves also. Promenade is French for walking, but here the turns in attitude. the unsupported leg drawn up like a clasp knife.
@@sedekiman824 hey thanks!
@@GuruRasaVonWerder promenade start at 4:46
@sedekiman : where and when have you seen Fonteyn in live ? her last Aurora-1970 was a calamity,Aurora ( it's not me but the Public who said it , j heard
@johnclifford
Several things about Margot.
A) modern technique or no modern technique, her balances are amongst the best EVER
B) This adage is about the joy of a 16 yr old, and although we know she was in her forties, she has that joy in spades, much more so than many technique-focused dancers today
C) If I had to pick out a ballerina who channeled the spirit of Margot in this adage, it would be Marianela Nuñez, who, quite clearly, pays homage to her illustrious predecessor.
Thanks for posting this, and thanks Margot for your grace, charm and charisma ❤️❤️
I think Fonteyn was 50 here! And I agree with you about everything.
@@jcliff26 46
@@alainspiteri502 Again you are quite wrong. Fonteyn was born in 1919, and this was recorded in 1969, that means 50, I think.
Sadly these days dancers are too focused on their hyper extensions to truly enjoy their own performances. Margot looks relaxed, happy and actually living the life of a sixteen year old on her birthday. Joyful and serene in one beautiful lady. I adore her.
Hyperextention is not a choice.
@birdyfilovingheart6365 : you have not eyes or nothing in your little brain to not understand that Fonteyn is not a 16 y old Princess here : j saw her in 1970 j can write that her Aurora was a calamity ( she was 47 an old Princess ) . Fonteyn is the greatest falsification in the history of classical dance .
You make a good point. They can take the SOUL out of the art & put in all the technicality, but it won't stir our hearts. Art must move us emotionally - technical skill is not all there is. Indeed, skill is a part of it, for all the great artists including Margot, but today they take the heart out for the technique, as you said.
I simply love watching Margot…..l believe that the hyper extension started with Sylvie Guillaume, and as remarkable as she was, l think Ballet has lost something….spin, splits, spin, splits, spin, splints……Margot makes me cry.
@carolineholmes4524 you're correct it was the beautiful Sylvie who began it. I'm a regular Royal Ballet audience member and they're truly remarkable. However, sometimes the concentration shows on their faces whilst performing. Not all the time and not all of them but simplicity can be just, if not more, as beautiful.
Ecezionale, meravigliosa.. e anche molto bella ! 🧚
Beautiful. I love Margo Fonteyn. It fascinates me how different the dancers bodies and the pointe shoes were in the past.
Those old pointe shoes look so painful, don't they, especially the Soviet ones.
The pointe shoes were terrible. They didn't even fit properly. I once tried an old unused pair of Soviet shoes..... let's just say I'm traumatised for life.
Margot will always own the rose Adagio.
margot fonteyn l incarnation parfaite de la princesse aurore une splendeur
Wonderful musicality and freedom to the whole dance. Excellent tempo too - not the dirge we so often hear, with the balances a protracted stunt. The overall impression is one of joy, surely the point of the exercise?
The is the symbol of grace ad beauty!
Margot Fonteyn was a professional with class and talent.
This is superb; such poise, elegance and balance, musicality and artistry, with no need for the great modern extensions. And who would have thought the magnificent, legendary (Irish-Brazilian) English ballerina Margot Fonteyn de Arias was a Castro-backed revolutionary in an attempted coup against the right wing government in Panama? She was a cattle rancher in Panama, looked after her husband who was disabled after being shot, fell on hard times, having used up her savings, with no pension, and had cancer. Money was raised to help her out. A wonderful performer, a remarkable life.
Her father was English and mother born in Manchester!!
Really charming and she really does look like she's enjoying herself. Thanks!
She's a joy to behold
Happy Birthdsy Margot
It's a subjective thing, but to me she had a charm no one else could match- although Natalia Osipova is also bewitching.
💖🌠✨красавица!!!!
Aurora defined Margot Fonteyn. Now ballet is gymnastics and the acting of the character is second to extensions. Not like Fonteyn and Ulavona. Both knew how to tell a story through their musicality and dramatics. The Rose Adiago is extremely difficult. The balances she does are perfection.
I was very lucky to be on that stage with her a little bit latter in time but just fantastique and magique
Edward Arckless ex Royal Oper Ballet Covent Garden London and conservatoire de Ville de Paris France
exquisite
Isn't it just. Saw her twice in this ballet. Once at the opera House, Covent Garden, and then at the Manchester Opera House.
@@sedekiman824 good sights
This is a theatrical (non-academic) event: technically unorthodox at key moments. There's a particularly nameless move between princes at the outset. Thereafter Fonteyn drops decisively into her pirouette preparations, 'loading' her leading arm, without ceremony. Her triple turns dispatch in the same amount of time as her doubles. Her exact repetitions allow attention to be drawn to the ensemble. All the stage players have specific timings and stage draughtsmanship. There's a no-fuss dynamic progression. Fonteyn believed her motion should appear to 'cause' the music - here's the example.
👏👏👏👏💐💐💐
Wonderful a honor of my meeting her i spent 7 years at ballet conservatory and music conservatory! the best gift of my parents education's and intelligence cultures ! I depend on me right teaching my children high standards! now helping my sweet husband
be finished with ignorance people lack of moral compass terrible laziness like free money from men a promiscuous disgusting disgusting people money hungry now grandma alcoholic inheritance evil manipulative we want them gone ! trailers park right
Margot. Was THE BEST. period.........Merle Park and Monica Mason were up there ,. Too
there are many people of Fondation Noureev in comments here , it's obvious
This movie is 1965 , same era that movie Romeo-Juliette coreo John Cranko, j have seen those two movies in cinema-Theater ; impossible in 2023 to see all Sleeping Fonteyn -Noureev , we can Roméo Haydee-Cranko to day .
It was 1969, not 1965. There is a film called "An Evening With the Royal Ballet" which was made in 1965.
@@sedekiman824 this crank Alain just wants attention & maybe he's drunk as so many misspelled words
@@GuruRasaVonWerderpoor channel who write , what about Fonteyn in fact ?
@@alainspiteri502 So sad that you are infatuated with mediocre dancers.
The sound is off by a fraction of a second.
Not on my computer.
@@jcliff26 There are always buffoons like Mr.Lopez.
She was probably best Aurora ever. Unsurpassable. Although, how was her technique 'solid' if she could not even do 90" arabesque ?
High extensions were not the norm in those days, and high legs were considered vulgar and too acrobatic. Today it’s really disgusting to see the choreography slowed down just so dancers can show off high extensions. Plus, in a tutu high extensions do nothing but show the ballerina’s crotch. Not attractive.
Isn't the slow speed to show off the balance? I don't like it anyway. But Plisetskaya often did the arabesques over 90. I guess it's just the English style. Mind you, Mr. Clifford,I don't like the high extensions either, do them because you cannot nowadays survive in ballet world without them, it isn't the choice anymore, sadly. Many young, talented dancers have been rejected based on the "low" legs. Fonteyn was utterly superb, and would be with or without the high legs.
@@anastasialenkova-molchalin5874 Yes, Plisetskaya was one of the first with higher extensions but she never slowed the music down. Don’t forget I knew her personally and took many of her classes, and saw her dance live with the Bolshoi in the 1960’s. I don’t know any American companies that insist on ultra high legs. Maybe in Russia, but not England, France, or other European companies, and I’ve worked with most of them staging Balanchine ballets. Also staged several tor the Bolshoi and Mariinsky.
Plisetskaya's extensions were BETTER than modern ones for that reason. In Russia they always insist on the stupid high legs. I can only dream of being allowed to keep my leg low. As well, the dancers of today are encouraged not to "sacrifice the technique for the speed" and called "bad dancers" if they put the proper tempos above pretty positions, notably Natalia Osipova. The ballet nowadays is just about poses, many of the dancers have artistry, but companies don't care, and it is at lower levels. No dancer of today compares to Fonteyn. Best Aurora now is Marianela Núñez, quite slow though.
Really, Mr. Clifford, the dancers of today could use a thing or two from your expertise before they say Kimin Kim has the perfect artistry.
I all ways was allways the 3 one.Edward Arckless
Старательная, но скованная .. и коленка висит ... Или она здесь уже старая?
Да-а-а, это не русский балет ... Плисецкая в 60 лет лучше танцевала ...
What utter tosh. Plisetskaya was a good dancer, but not the charisma or womanliness of Fonteyn.
0'10- 0, 15 - 0,21 : no only not extension but no musicality
Glasses need changing I think.
@@sedekiman824 no , j don't have a dry chickpea in my head , nothing more .
I love so many things about this. I love it’s not danced at a funeral march pace, it really lets the music and choreo shine through. I love the progression of Aurora, from a slower more formal projection at the start, to the joyful free ending. Her musicality is second to none, how she varied the speed of the pirouettes and also how she stopped them... abd those arms, hands and back. Her back bend was glorious. I could keep going. Assoluta. :)
And that’s exactly why I keep posting this. To show how it’s supposed to be done.
So true! The performance flows from the beginning to the clasp knife -like attitude into promenade. And I saw her in performance at the Opera House in Manchester while at Uni accompanied by my sister sitting in the gods!!
So beautiful and refined. Her port de bra in the bourree turns was always my favorite part...reminded me of the petals of a rose. I don't think anyone comes close in this particular role.
I have just seen Marianela Núñez in this adage at The ROH. She was absolutely superb in every way.
Absolutely beautiful!! It is a pleasure to watch this joyful performance as Margot dances so fluidly and elegantly. Thank you,C💝💝💝
Thank you for posting! It is so vividly clear and colorful. I love Fonteyn. She was the epitome of class, grace and great artistry. I love how they danced in this time period. It wasn't all about technique, but the artistry is the one I truly miss in some of todays dancers. Great high extensions and technique, but lacking in quality of their performance. IMHO.
So who was the one person who disliked this? How can you dislike this?
Charles-becuase they alike gymnastics not art.
Where was this filmed? I'm looking at the depth of the stage and wondering if they had to re-block the corps roles or limit the size of the court (or if we just expanded this scene as stages got bigger. Fonteyn just takes the stage no matter the venue. I didn't "get" the idea that the lower extension of the time was a British aesthetic till I heard one of the British critics criticize Sylvie Guillem's extension as being vulgar!
I heard it was on a tour, and yes, lower legs was common everywhere except for NYCB, and then Guillem really broke the mold.