How many pirouettes?

[Claude_Catastrophique]

Since I did my first double pirouette I always wanted to know how many turns a ballet dancer can do/did. What were the most turns and who did them? I have seen so many great turners and I always tried to count the turns but after ten-fifteen I stopped because I was to confused (The most I have counted were 36 fouettes with 5 double turns in between.)

So...is there a kind of World Champion in turning (fouettes and other pirouettes?) I was just wondering and I hope I posted this on the right board.

[Mel Johnson]

In terms of pirouettes, David Blair (Royal Ballet) used to have his own personal Turner's Club, membership to which was confined to those who could do eight or more pirouettes. Balanchine used to say, "Do only three pirouettes. After that audience starts to count. After seven, they stop counting." Rowena Jackson (New Zealander, also Royal Ballet) was recorded by an impartial observer as having done 121 consecutive fouettés in class. The rest of the music was consumed in a pirouette out of the series. Nobody counted those.

[Victoria Leigh]

I believe that Baryshnikov did 11 en dehors pirouettes in White Nights. I think that is the most I have seen in terms of one pirouette as opposed to something like fouettés or other consecutive turns. Eglevsky was quite a turner in his day, and used to do many turns, but I think that as the number increased he lowered the relevé so that he was not actually "up" on the later turns. Baryshnikov was.

[Claude_Catastrophique]

Thanky for your replies. This sounds really interesting. No wonder Barishnikow did them perfect, he is such good dancer.

And that's really funny about the counting because he is right...more than three, I start counting and after six or seven I am too confused to continue.

[lampwick]

Alexandra Ansanelli (NYCB) is regularly doing 8 en dehors in class this year.

 

I've seen Michelle Wiles (ABT) do more than that en dedans. Saw one that must have been *at least* 12. She was perfectly on balance and stopped when she ran out of momentum. Just came to a slow stop in retire. Amazing.

 

Gillian Murphy I bet has done a few crazy ones too. She turns very well.

 

 

I've heard that Angel Corella has done 22. I bet Jose Manuel can do a large number (he has the best technique in turns I've ever seen). Damian Woetzel has done a number of crazy pirouettes as well. I've seen some where he does like 7 in retire, looks bored so he puts his leg in arabesque, keeps turning until there's no music left or he's in the way of the next group....crazy stuff like that. It looks fun.

 

I'd be curious to know what the world record is too (if there is one).

[Daniil]

Well, on normal dance floor (this means it is medium slippery, in the class) I can do about 9 en dehors regularly. On normal lenolium floor, I can do about 13

But them of course in a good position, high on demi-pointe and good passe

Edited January 29, 2005 by Daniil

[Mel Johnson]

Please remember that the Guinness' Book of World Records is compiled by a bunch of Irishmen who work in a brewery. They are unlikely to know, or even care about the distinction between a fouetté and a pirouette. They wrote the book in order to settle bar bets. Claims of turns above 121 of any sort will be met with supreme indifference unless accompanied by a single-take video and an attestation by an impartial observer accredited by Guinness.

[Claude_Catastrophique]

I found a lovely clip where Roberto Bolle shows his talent. Maybe you know it but anyway, have fun to watch it (lovely Pirouette-combination)

http://www.robertobolle.com/bolle2.mpg

[Dancer06]

I found this clip of Sofiane Sylve of Het Nationale Ballet; her fouettes in the second half of it are simply amazing:

 

Sofiane Sylve

 

In addition, the Het Nationale Ballet website includes clips of their dancers in each individual biography, found under "Het Nationale Ballet" > "Dansers" and the links in the dark green section, which divide the dancers into principals, first soloists, etc. Enjoy!

[Claude_Catastrophique]

Thanks for posting the links. I did not have time to watch them all (which I MUST do later) but I have seen a couple of them and Sofiane Sylve Video ist just great.

[lampwick]

Daniil, you look like an incredible dancer! Congrats on your win at Varna. I have no doubt that you can do 13 turns. Now do 14. ha ha.

 

Sofiane Sylve is gorgeous. She a principal at NYCB now and I get to see her all the time.

[Daniil]

Well, after watching such videos I've decided to put one of me online.

 

Giselle, Albrecht variation

 

For playing it the realplayer is needed. You can also find it by going to my videos section on my website

Edited February 13, 2005 by Daniil

[Mel Johnson]

Oh my! Respectable, very respectable, Daniil!

 

There are a few things I noticed that you might want to consider working on. The first is strictly an anecdote. I recall Erik Bruhn in this variation, which is a bear, no matter if performed in the whole ballet or by itself. He took the first cabrioles and just did a VERY high, absolutely perfect single, and came down for the entrechat-six. That's just a personal option. Your doubles are very clean and nice, and few better could be wanted. (Just make sure both heels are down at the end of the entrechat. It looked like you had favored the right a bit.) You may have been hampered by a sort of narrow stage, but the piqué arabesque after that diagonal looked like it was a "preparation for a preparation" or a sort of hiccup that cut into the flow of movement. Ordinarily, I lament the recent tendency to change all turns from right to left, but the first pirouette sequence after the coupé jeté en tournant was lovely, and just what such a change should be, as it continued the direction and impetus of the enchainement to its logical conclusion. Maybe everybody should do it that way! Just be careful about letting your head get too close to your raised arm at the conclusion of the turns. It can look like an underarm deodorant commercial if allowed to get too far! You also took a little wind-up or "cocking" (as in a pistol) to start those turns. You don't need to! The double tour diagonal was more problematical. Although the tours were exceedingly nice and clean, they turned to the left, contrary to the flow of motion. But they were SO nice and clean, it almost is not worth mentioning, but I thought that I'd better. Likewise, the final pirouette would make it rather difficult to go into the necessary chute allongée (plop!) in a fully-staged edition of the Albrecht/Wilis scene. I once saw someone, I can't recall who, do four pirouettes to the left, came down and went right into a double tour TO THE RIGHT! Brilliant stunt, but jarring on all concerned, I thought. This is not the ballet for that sort of thing. Raymonda maybe, but not Giselle. But your dancing of this difficult variation is a model for other young dancers to follow. There was much more very, very right about it than slightly wrong. Truly refreshing and encouraging to watch.

 

I'll be a slightly easier taskmaster than lampwick. Thirteen pirouettes will be fine. Just to the other side.

 

Hey, I'm a teacher, I have to say that!

[Daniil]

There are a few things I noticed that you might want to consider working on.  The first is strictly an anecdote.  I recall Erik Bruhn in this variation, which is a bear, no matter if performed in the whole ballet or by itself.  He took the first cabrioles and just did a VERY high, absolutely perfect single, and came down for the entrechat-six. That's just a personal option. 

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This is an option, but sadly not for a competition

 

(Just make sure both heels are down at the end of the entrechat.  It looked like you had favored the right a bit.)

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Come on Only if you're looking very close you'll see that. You're the first one who mentions it

 

You may have been hampered by a sort of narrow stage, but the piqué arabesque after that diagonal looked like it was a "preparation for a preparation" or a sort of hiccup that cut into the flow of movement.

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I fully agree with you. In the later versions I danced this, I just did a high arabesque, without the preparation after.

 

Ordinarily, I lament the recent tendency to change all turns from right to left, but the first pirouette sequence after the coupé jeté en tournant was lovely, and just what such a change should be, as it continued the direction and impetus of the enchainement to its logical conclusion.  Maybe everybody should do it that way! 

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Sorry, but the change from right to left is not just because it looks better, but because it's my side I turn favourably to.

 

Just be careful about letting your head get too close to your raised arm at the conclusion of the turns.  It can look like an underarm deodorant commercial if allowed to get too far! 

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I agree, but this was also a problem of the costume.

 

You also took a little wind-up or "cocking" (as in a pistol) to start those turns.  You don't need to!  The double tour diagonal was more problematical.  Although the tours were exceedingly nice and clean, they turned to the left, contrary to the flow of motion.  But they were SO nice and clean, it almost is not worth mentioning, but I thought that I'd better. 

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We considered this version, but then:

1. I had to run to the other side

2. Personally, I find it quite ugly, when all the boys show their bums first, before doing the tour en l'air. Only because everybody does it so it doesn't mean I also have to do it that way.

In the later versions I did a double tour en l'air with passe finishing on one leg and immediatly doing a ran verse (I don't know the right spelling)

 

Likewise, the final pirouette would make it rather difficult to go into the necessary chute allongée (plop!) in a fully-staged edition of the Albrecht/Wilis scene.

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If I managed this, it wil be no problem to fall after the pirouette into a position, when I'll dance the PDD.

 

 

I once saw someone, I can't recall who, do four pirouettes to the left, came down and went right into a double tour TO THE RIGHT!  Brilliant stunt, but jarring on all concerned, I thought.  This is not the ballet for that sort of thing.  Raymonda maybe, but not Giselle. 

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I can do this, but in my opinion it doesn't look very good. Even in DonQ.

 

There was much more very, very right about it than slightly wrong.  Truly refreshing and encouraging to watch.

 

Hey, I'm a teacher, I have to say that!

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Thank you! (where is the "Thank You" smiley from the other board )

 

I'll be a slightly easier taskmaster than lampwick.  Thirteen pirouettes will be fine.  Just to the other side. 

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I didn't say I did 13 in class or on stage. I was just doing them for fun on a linoleum floor, which was quite slippery, in the hall.

 

Oh, and thanks again for the thoughtful comment

Edited February 13, 2005 by Daniil

[Gina Ness]

Daniil...that was very well danced...What a pleasure to watch! I have noticed that turning combinations will often be altered to suit the strength of the male dancer performing them, even in traditional classical ballets. It makes sense to me to turn to the strongest side for virtuoso variations. This doesn't seem to apply so readily for traditional female variations,however...You have wonderful turning ability!

 

I want to tell one of my favorite piroette stories...When I was a student at SFB in the late 60's, there was a wonderful Russian teacher there...his name was Anatole Vilzak. In his youth, he was right under Nijinsky in the Diaghileff's Ballet Russe. I remember watching him teaching Men's class one day while I was warming up for my own class. He was getting frustrated with the boys...He said in excitement with his Russian accent, "No, boys, not like that...like THIS!" And he proceeded to whip off eight en dehors piroettes...FINISH! He was 70 years old! I'll never forget that!