Ballet lovers

For more informations about the Vinogradov 's version, you can read our review of this ballet in the " Other European companies".

Thank you so much Natalia for your reports! They are really very nice and interesting. We like also very much Thomas Lund. He is a really great "master" of the Bournonville style!

On the 22 of May, in the Maly ( Mussorgsky ) Theatre of Opera and Ballet in St. Petersburg, was represented a really pleasant reconstruction of " La Fille Mal Gardee ". This version by Oleg Vinogradov, was created in 1971 for this theatre and was a really big success ( first brillant main interpreters : Galina Pokrishkina and Nikita Dolgushin). The very difficult and acrobatic Vinogradov's choreography, was really impressive especially for the audience of that time. Even now, it is very difficult to imagine any artist to dance this so difficult version. This ballet was mantained in the Maly Theatre's repertory till about 1983-84 and was always a huge proof for many "Principals". We remember, at this purpose, very strong couples like Alla Malisheva - Piotr Rusanov or Ludmilla Filina - Alexader Evdokimov. Really amazing and funny was also Nikolai Boyartcikov ( now artistic director of the Maly's Ballet ) as " Lisa's mother " and Gherman Zhamuel as the stupid " Alain". In 1994 Vinogradov staged his " Fille" for the Mariinsky Ballet Theatre and he chose a really wonderful cast of "Principals" for different performances : Margarita Kullik - Vladimir Kim and Irina Badaeva - Fethon Miozzi. These two pairs were really unfogettables ! Each one in different manner. All the other Mariinsky's artists who danced this version later ( Larissa Lezhnina, Irina Shapciz, Serghei Vikharev, Stanislav Belaevsky etc. ), couldn't give the same sensations. Kullik - Kim, were, as usual, brillant and light with a very brillant actor's play. Badaeva - Miozzi were more shiny, joyful and " in love ". We remember that even many people of the audience were divided in " Kulikov" and " Badaiviki" to underline the different fans of these two pairs. This event recalled Taglioni's and Essler's time ! Obviously, after the " Vinogradov's fall " in the Mariinsky Theatre, this ballet, one of the most beloved by the audience, was sweeped away to give place to a multitude of useless and boring ballets that sometimes are even a huge shame, like the last " Magic Nut ". ACT ONE: Very original and nice the scenes of this act who recall the ceramics " GZHEL". Unfortunately the costumes of "Lisa" and " Colin" were not on the same tones so they were not "in theme" and quite irritating ( red costumes, blue scenes !!!). The corps de ballet was quite clean even if with some insecurity on the scene of the "hayloft". Not really convincing M. Padosionov as " Lisa's mother". His actor play is too formal and often incomprehensible. Maybe it is difficult for us to accept this kind of artists after brillant interpreters of this role like Boyartcikov or Ghennadi Babanin at the Mariinsky. Very good the "Alain" of D.Tolmaciov. He was enough "stupid" and funny as this role has to be. Oksana Kutceruk and Roman Mikhalev in the main roles were not bad but not very convincing in their pantomime. It seemed they didn't feel really at ease on the Vinogradov's choreography. The most of their variations or duet, were not very accurated. ACT TWO: Not really successful the rose scenes and quite all the rose costumes of this act.Sometimes was even difficult to distinguish some soloists from the corps. The corps de ballet was accurated except of the children of the Vaganova Ballet Academy who seemed to be not very ready. This was really strange ! Very good in this act " Alain" ( Tolmaciov) and "Lisa's mother"( Podosionov) in their variations. Absolutely wonderful I.Filimonov, D.Salimbaev, A.Kuzhnetzov and N. Arhiaev in the beautiful acrobatic-dance of "sabot" ! Kutceruk and Mikhalev were good in their last "pas-de-deux" and they brought this act to the end with big dignity. Big success at the end of the performance ! The audience has missed "new" good ballet performances. It seems is much more interesting to attend more often the Maly Theatre than the new stupid ballet productions of the Mariinsky.

Hi Natalia ! It seems the music and some of the costumes were the same of "Princess Pirlipat".Obviously the choreography is different but...no good results ! Another useless production for the Mariinsky Ballet ! Very sad situation.

It is really more and more painful to see how the credibility and the professionalism of the Mariinsky ballet is falling down after every performance. Obviously the fault is not of the artists because they are all professionals of high-level but only of a shameless direction who has the proud to stage this kind of performances on this stage. A clear exemple of the no competence and impudence of the ballet direction, is this " world premiere" of the "Magic Nut". Of course the Mariinsky Theatre, as every top company, wants to be very unique and original in comparison with the other world top-companies , staging everytime new works to attract more attention of the audience but it seems that this " gold rush " has maked them lose any rule of judgement. We think that, in absence of good works, it will be better for the theatre to perform his traditional repertory and avoid this shame ! ACT FIRST: The only very interesting sight of this staging, were, without any doubt, the costumes and scenes of Mikhail Chemiakin. So, if in the most of the whole act the choreography of Donvena Pandoursky was so stupid, irritating or practically non-existent, we could admire other things, unfortunately so far from ballet. Absolutely beautiful and full of power the interpretation of Anton Adasinsky from the theatre "Derevo" as "Herr Drosselmeyer". His plasticity and rough figure as a dredful marionette, had gave the right definition of this role. Andrey Merkuriev and Maya Dumchenko in the main roles, were good , even if it is quite difficult to judge them from their rare commonplaces dance pieces. Very nice was also Irma Nioradze as "Temptress" ( except her bad "fouettes"). It seems she can dance better this kind of roles, with a more "free" tecnique and interpretation, than the pure repertory where she is often very rude and not accurated. The most terrible scene of this act, was the " Sea Kingdom" were it was so sad to see top ballet artists compelled to perform sea wiches, sea demons,,jellyfish, seaweed, seahorses etc. with an awful choreography and music, as in the last amateur dance company in a village. Especially, was so awful to see a so good dancer like Ekaterina Osmolkina as an irritating , excited frog who tried to violate everytime Aidasinsky and the poor Merkuriev. ACT SECOND: The corps de ballet was absolutely terrible and not accurated as also in the first act. Maybe not so much rehearsals, or maybe not so much will of the artists to dance this stupidities. We can understand them ! In any case, this act was a little more interesting as choreography. At least some ballet "pas", variations and corps de ballet's scenes to name this performance " ballet". Very good Evghenia Obraztsova and Alexei Nedviga as " The rat Jester" and " The Royal Jester". In the last " divertissement", maybe the only really interesting part of the whole ballet, all the ballet pieces were wonderfully performed by all the artists. We have distinguished especially Maxim Khrebtov, Vasily Sherbakov, Mikhail Lobukhin, Dmitry Pikhachov as "Turkish Suitors", and Maxim Ziuzin, Alexander Sergheev as " Hungarian Suitors". Very amazing also the pupils of the Vaganova Ballet Academy in different roles. A huge " bravo" to their teachers ! Big success on the end of the performance ! For all the children in the audience it was a really wonderful sight. Without any doubt, they can have now more fun in the Mariinsky Theatre than in Disneyland !

We don't think that Serghey Popov has danced main roles before. We have seen him only in the corps and sometimes in second roles and in "coriphees" roles. Unfortunately we didn't attend this performance of " Bakhcisarai" but it is difficult for us to imagine S. Popov in main roles. We think he is not quite ready for them yet. He has a very nice face but he is still technically faible with a too skinny legs without muscles. Besides his actor play is not still convincing. Maybe is still early for him. Let's wait .

We don't know. We don't think so. In any case it seems that with Pavlenko everything is O.K.

The same used to said of Vera Trefilova when she was stuck dancing cutesy roles like Manu & Fairy Canari, early on in her career. When she was finally given her chance to dance Aurora, she was seen as a true classical leading ballerina &, later, THE definitive Aurora of the Diaghilev ballet! Just because a dancer is shortish, cute of face & possessing a wide smile (when warranted) does not mean that she doesn't have the makings of a great ballerina in the great lyrical roles...and many feel that Evgenia Obratsova does. Unlike Sheshina & Kullik, Obratsova is proportionally long-limbed (as were Trefilova & Makarova). It's sometimes good to think outside the box. <{POST_SNAPBACK}>

What a beautiful joy, after this continuous indigestion of Balanchine's , Forsythe's repertory, to watch the main classicals ! Only now we can appreciate these events, when the main repertory is not so frequent like in the past. What a sad situation !!! It is also a so big pleasure to see a huge audience after the quite empty hall during the "modern" repertory. Maybe this is mean that the main classicals are still the only to rise the true interest of the public in Russia ( and, we think, everywhere). We only hope that the today's ballet direction, will uderstand it ! ACT FIRST: Unfortunately, the main corps de ballet is now on tour in Cardiff so we have not seen the "cream" of them but ,in any case they danced well and precise all the first act. Good Marianna Yakovleva and Valeria Martiniuk ,among the "Giselle's friends". Very good and "ispired" also Pavel Moskvito on the role of Hans. Not really nice and convincing Sofia Gumerova in the main role. She is too tall ( and with a too short "ballet dress"), clumsy and with too faded features. Maybe she doesn't feel the role or maybe she simply needs of a good make up. Perhaps, no wonder if her dance-manner is " à la Balanchine" that have not really place here : too "nervouses" and agile mouvements of legs and arms without the right width. This is the new wrong tendency of the ballet direction. What to do if the theatre is losing his style dancing quite only a " stranger" repertory ? Her variation was not bad except of her insecure " tour-en-attitude". Her " mad scene" was also not convincing and even boring. Ilya Kusnetzov was also clumsy and technically faible in this act. His prince Albert was unpleasant, too cynic and sometimes absent. This is quite strange for him because, usually, he try to be very expressive everywhere ( sometimes too much till the parody). Fairly good the " peasants pas -de- deux " with Elena Sheshina and Vladimir Shklyarov even if with many technically mistakes in his variation and in her coda. SECOND ACT: The corps de ballet was very good and even during the whole act : good syncronism and precise lines as usual. Very nice and precise were also Ekaterina Kondaurova and Tatiana Tkacenko in "Monna" and "Zhiulma" . Gumerova seemed to feel more at ease in this act as Kusnetzov also. They danced well and with the right expressiveness ( even if his "cabrioles" in the variation, were quite poor). Victoria Tereshkina in the role of "Myrtha", was really superb. We think that it is really her best role at all .Her beautiful lines and amazing jump are really impressive here. Perhaps, to be ballerina of " second roles" is her holy place. Absolutely irritating and out of style, the last Kusnetzov's " jetes" to the Giselle's grave. They looked like funny gymnastic's exercises during the world competitions and they absolutely didn't give the impression of any pain or repentance as any mouvement has to , at this time. This is a further proof of a cheap taste of some dancers.

In any case, we don't think that Dumchenko is among the " smalls". She is quite tall !

You are true Thalictum, the "small" ballerinas have to be proportioned ,with nice long arms and legs, that is why we have mentioned nice and gracefull dancers like Efremova, Ayupova, Badaeva or Ivanova. You are true about Obrastzova but we think that is very pretty and nice to watch in any case. The main thing for her , is never to be overweight to seems everytime proportioned .

Natalia, unfortunately we didn't attend the last " Sylphide " with E.Obrasztova but we have seen her before in this role and we liked her very much. She is very pretty and light like a real "Sylphide".Her "Juliet" was also very sweet and touching. It is very conforting that the Mariinsky theatre has finally understood that needs also small ballerinas for the repertory and not only that the height is the only main thing in the classical ballet. Today it is becoming really impossible to watch on the stage "Sylphides", " Auroras", "Mashas" or "Juliets" etc. taller sometimes, than their partners and, in many cases, absolutely clumsy. We think that Obrastzova, after S. Efremova, Z. Ayupova, I. Badaeva, V. Ivanova, is one of the most nice and "small" ballerinas who could make come back today the right aesthetics and the right conception of lightness, grace and expressiveness that has characterized the great ballerinas in the past in this roles.

For many people, the Soviet Era was destroying for all the type of arts: many restrictions, many forced changes, many artistic souls " killed". Sometimes this is true. For example, the Soviet authorities have "destroied" many masterpieces of the great choreographer Leonid Yakobson, that was forcerd to change them everytime for stupid rules. In any case he was so talent that he could give us the most beautiful exemples of great and genious choreography. Unforgettable his versions of " Spartacus", " Shurale" and all his choreography miniatures. Even now we can't find anything genious on our choreographers ( and even in the West). When George Balanchine came to America ( where of course there was not any Soviet trend ??? ), the ballet art was absolutly not developed but his "genious mind" found the way to create immortal masterpieces. This is the real talent of any choreographer: to be genious indipendently of any political current or any sad artistical situation. Kostantin Sergheev did a splendid version of "Swan Lake". Maybe the most beautiful in the classical repertory, keeping to the Soviet rules ( the "happy end" of the story). Even now his version is the most beloved independently of his end. Not only from "the end" we can value the choreographer's talent !

Hi dear Natalia, we know that Kunakova is working just only with Tereshkina in the Mariinsky theatre but it seems she is not a great teacher even if she was a very good ballerina. Besides it seems that now the Mariinsky ballet is more attentive to the "modern" repertory and is forgetting the main classicals. For exemple in "Raymonda" the corps de ballet seems sometimes not really in a good form, with faible legs and feet. In the past, ballets like " Sleeping Beauty"or "Swan Lake", were represented twice a week so the troupe was always in the best dazzling form. Now, when this ballets are represented twice a month, the most of the dancers seems to be frightened on the stage, not involved with the performance they are dancing. It seems they are not understanding what they dance , even if we are talking about very capable people ! " Raymonda" is one of the most difficult ballet for technique ( 6 variations for the ballerina) and for style so if the Mariinsky ballet dance it so rarely, is impossible to maintain this rules. Maybe it will be better less Forsythe , Balanchine etc. and more " Swan Lakes" or " Raymondas" to have the company in better form, isn' t it ? Julia Makhalina was really very nice and convincing in " Raymonda", in both of the versions of Sergeev and Grigorovich, that is why maybe she is not dancing any more this roles: why have a competition for the young, insecure today's ballerinas ? We think Makhalina could be a really big exemple for all the young generations but it seems the ballet direction doesn't understand it at all. We only hope she will be all right after her last injuries and to see her dance as soon as possible.

Tereshkina is trained by Lubov Kunakova as far as we know. She is a very promising ballerina but maybe she needs to rehearse more or to work with another teacher. Her " Raymonda " was good but with many technical and style mistakes: no nice final poses, no really strong technique, no convincing manner. We' ll wait for her better performances.