I dk how he does it, but Acosta gives the impression of a very young man in every step of his solo, I think it’s a youthful joy in movement that I’m seeing, something that seems to disappear with age. How lovely to see that Acosta could produce that suggestion in his 30s!
Look for Natalia Makarova and the late Ross Stretton in a 1988 recording with ABT. Makarova moves like gossamer. Absolutely weightless, especially in those by-the-shoulder lifts.
Well, without the music ballet would be pretty boring....the music drives the drama and emotion for the dancers, a reason to move as they do. But music does this for movies, operas, and some plays, as well. I say this as a classically train singer, flutist, and organist, so perhaps I’m biased, but _making_ music with others is an incomparable experience for me.
I dk how he does it, but Acosta gives the impression of a very young man in every step of his solo, I think it’s a youthful joy in movement that I’m seeing, something that seems to disappear with age. How lovely to see that Acosta could produce that suggestion in his 30s!
I really enjoy Carlos Acosta's Romeo a lot, especially his variation in the balcony scene. That is like steps of moonlight.
Juliet's pas de deux with Tybalt is absolutely gorgeous in this version - it's unmatched. Tamara has such a delicacy in this role!
It is with Paris, her suitor, not Tybalt
Look for Natalia Makarova and the late Ross Stretton in a 1988 recording with ABT. Makarova moves like gossamer. Absolutely weightless, especially in those by-the-shoulder lifts.
Carlos Acosta, braaaavoooo!!!
It's soo beautiful!
It is a slower variation yes but i really like it for sure me reason. Especially when Juliet plays the instrument (i don't know what it's called)
Some*
Tamara Rojo and David Pickering.....gorgeous.
Perhaps I am a snob but for me nothing compares to classical Ballet.
Not necessarily a snob.
You like what is beautiful ... and certainly ballet is very beautiful
Well, without the music ballet would be pretty boring....the music drives the drama and emotion for the dancers, a reason to move as they do. But music does this for movies, operas, and some plays, as well. I say this as a classically train singer, flutist, and organist, so perhaps I’m biased, but _making_ music with others is an incomparable experience for me.
Who is playing Paris?
version lenta y aburrida.
I dont really like this version that much.
Which is why each performer brings their own interpretation so no one version should ever be the same as another..
To me, it is the best version of them all in every aspect: choreography, design, and performance.
Ah well, each to his own