Diving

kylemarffin:

Akexander Izillaev photo for a Bryan Byczek poster for the Pennsylvania Ballet’s 2012 Giselle. 

vivelaballerine:

Maria Kochetkova rehearsing Giselle.

balletomaneassoluta:

Yuan Yuan Tan

theballetblog:

“She had a truly spooky Mad Scene (she’d started letting down her hair before she came out of her cottage), beginning with a full screen close up of her face. You could see her not quite frozen features and her fingers start to tug at her hair. It was subtle and chilling, and I wonder how much of it the live audience (sans binoculars, anyway) could spot.

As for Nunez’ second act, well, what wasn’t great? She began her Act II adagio with Pennefather by slowly rising to demi-pointe while holding a deep, perfectly motionless arabesque (a penchée? I should’ve taken notes). If I hadn’t already been completely entranced with her, that would’ve done it. Her feet are as imbued with intelligence as the rest of her body, and she can wow you with the little stuff just as well as she wows you with the big stuff. The heartbreaking and tender drifting of her arms almost brushing the floor as Pennefather held her in nearly inverted penchées; the ferocity of her first dash to plead at Myrtha’s feet; her breathtaking big soubresaults and bigger grand jetés; well, I could go on.”

Ballet critic, Eric Taub describing Marianela Nunez’s performance as Giselle

I missed the live broadcast of this when I could easily have caught it in SF and I will never ever forgive myself not ever

obsessivedancingdisorder:

Yevgenia Obrasztova.

This is perfection.

PS: … Gaynors

nationalballet:

The Corps de Ballet are deep in rehearsal as the Wilis for Giselle. Read more about why the Wilis give you the willies here.

Artists of the Ballet in rehearsal for Giselle. Photo by Sian Richards.