Zakharova at the Bolshoi
Posted 07 October 2003 - 01:32 PM
Posted 08 October 2003 - 06:09 AM
I would like to point out that of course Zakharova has spectacular lines and elastic feet and these qualities should 100% work in “Swan Lake”, especially in the old-new Grigorovich’s version, which is sophisticated to such an extend, that almost lacks sense ) and as a result does not need extra-dramatic qualities.
Posted 08 October 2003 - 08:03 AM
Posted 08 October 2003 - 11:09 AM
Posted 08 October 2003 - 11:18 AM
Posted 08 October 2003 - 01:02 PM
Posted 09 October 2003 - 01:23 AM
Olya: “On the 5th of October I saw Giselle with Svetlana Zakharova and Nikolai Tsiskaridze. What can I tell you? I was in raptures! Congratulations to everyone, and first of all to the Bolshoi, with a marvellous acquisition which is Svetlana. She is beautiful and has wonderful arms, neck and ‘singing’ feet; she can show her coquettish side but not expressly, God forbid. She was charming in Act 1, maidenly naïve and pure. And what a madness scene! It was frightening when she was already becoming a Wilis! She was transparent and sad in Act 2 as a pure and light apparition – that was brilliant. She is a Ballerina of a very high order both technically and artistically, and the image she created is different from that created by other stars. I still remember Maximova and a very young Ananiashvili as Giselle, they were inimitable, but Svetlana introduced something of her own!
Eva: She was 100% convincing for me, and even more than that. So playful, coquettish and pure, a true child of nature. In the madness scene I felt scared for her and tears welled up in my eyes. In fact, not my eyes alone.
Where her duet with Tsiskaridze is concerned… At last we have a ballerina who is not eclipsed by him. He even himself excelled with her… Unfortunately, I can not write professionally about technique but, from my point of view as an amateur, Zakharova’s dancing was very, very beautiful.
O yes, Alexandrova of course... I can not hold my peace about her. She is a fantastic Myrtha! Not a ballerina who is pretending to be someone else but the Queen of Wilis coming from a legend in person.
MC: Tsiskaridze as Albert… Well, the Russian language is great and powerful but even this language is short of synonyms of the word ‘magnificent’ to help me with describing once again, without reiteration, Nikolai’s performance on that night. So, every time I am paining when desperately try to invent new words… We said everything and reiterated over and over again. Now the only word “Bravo!” can be endlessly repeated.
Posted 09 October 2003 - 05:30 AM
Marc described her approach when reviewing her London Bayadere very accurately I thought.
[/QUOTE]Zakharova resembled an alien visitor not familiar with the language of the corps. What I found most disconcerting is however that her technical virtuosity (impressive it may be when taken on its own) is totally unrelated to the drama unfolding before our eyes, worse it is even happening in spite of the drama
Another case of a dancer not "travelling" well?
Posted 09 October 2003 - 06:49 AM
Mashinka, I don't think it is so much a case of a dancer not travelling well, it is rather what you expect to see in a classical ballet performance. When taken out of its context, as many people seem to do here, her performance may strike as extremely impressive, but when considered as part of an ensemble, a whole ballet, with a certain style, theatricality, rules of emploi etc, (which is Ina's approach), it may seem less so.
Posted 10 October 2003 - 11:36 AM
Myrtha by Maria Alexandorva was completely fantastic – high jumps, impressive ballon, noiseless landings, absolutely clear ten sauts-de-basque in the coda of the pas de willis (I cannot recall a performance when she did less), charming frequent pas de bourrés... She was not an actress, she was the Queen of Willis herself, as somebody wrote - terrible and implacable. Masha usually dances this role very well but that day she surpassed herself.
Albert-Tsiskaridze. I liked his dance that night very much. Usually he tries to decorate the role by many unnecessary details (say, different gestures, glances, exaggerated leaps and rotations, etc.) which often contradict each other in the style. That night he demonstrated a noble dance, noble in its simplicity as it should be in this charming romantic ballet. Almost everything he did on the stage was just excellent. And he was so gallant with his ballerinas, not only during the performance but also at the curtain calls. It was not the first time in the new season that Nikolai demonstrated that simplicity and the absence of mannerism which I appreciate. Is this a new quality of the talented dancer?
I was not so enthusiastic about Zakharova's first appearance in "Giselle" at the regular Bolshoi's performance. She has an extraordinary body, charming lines, elastic feet, everything a ballerina needs for a perfect dance. But I did not find her technique being superb. I noticed a lack of dramatic art in her interpretation and found her rather cold in the first act (may be only at Giselle’s death she looked sincere and touching). The Madness scene did not impress me. I recognize that Svetlana could not run beautifully, her movements were a bit unnatural when she played with the sword and tried to kill herself. And I did not understand why her pointes knocked so much... No good leaps in the 2nd act, what killed the effect of the flight. Maybe her jumps could be accepted better if they were not so contrasting to these by Alexandrova and Tsiskaridze. Svetlana’s arms were too "swanlike", some poses were not canonical (say, the pose of obedience when she faced Myrtha the first time – she should not keep her head straight, we know the photo by Spesivtseva). Strange enough but I did not notice the cantilena I liked so much when Zakharova performed 20th century choreography. There were some strange sharp movements of the body when Zakharova sank from her points.
Zakharova was not bad, by no means I would like to tell she was. Of course she demonstrated many beautiful pas – arabesques, developpés and all that. But she was not perfect as the audience was eager to see from the new Bolshoi’s ballerina. And when I recall a few “Giselles” I watched during recent years (Ananiashvili-Uvarov, Vishneva-Malakhov, Cojocaru-Kobborg, Ledovskaya, Lunkina-Malakhov), I cannot tell that Svetlana Zakharova touched my soul.
To conclude I have to tell that Ms. Akimova selected only positive posts about Zakharova from Russian forums and skipped any criticism people presented there. I think this needs to be said to give a better idea of what the Russian balletomanes thought of her.
Posted 10 October 2003 - 01:14 PM
Interesting that you mention this about the poses, a detail maybe, but crucial if you want to dance "Giselle" and not "Chopiniana" or "Swan Lake". I know that Zakharova's previous Kirov teacher Olga Moiseyeva used to pay attention to this in rehearsals. Not everything seems to be remembered, though.
Posted 10 October 2003 - 06:21 PM
I must say I'm especially jealous not to have seen Alexandrova's Myrtha! I was particularly interested in your comments on Tsiskaridze. I haven't seen his "noble" side -- he's performed here several times, and we've gotten the more exaggerated dancing you describe.
Posted 13 October 2003 - 01:36 AM
Posted 29 October 2003 - 09:57 AM
Svetlana Zakharova, Sergei Filin, Maria Alexandrova, Gennady Yanin.
The performance was rather mediocre. In the first act Zakharova’s acting consisted of a big simper without any variation. Toward the end of the ballet she developed some charm but the ballet asks for more. The most shocking for me was the choreography she danced: it was not the movements that other Bolshoi’s ballerinas (Ananiashvili, Gracheva, Alexandrova) did in the part! Zakharova danced a much more simplified version! The variations that looked in the past like French lace, with Zakharova were turned into simple school exercises! May be Lacotte himself castrated his own creation to adjust it to Zakharova’s abilities – with her long legs she apparently have problems with that “small” French technique. Or she did it on her own accord? The performance was filmed by the French TV, so the ballet will be saved in history in the “light” version…. I think it’s a great pity because the original ballerina variations was much more beautiful. To say nothing about Zakharova’s very modest artistry.
Sergei Filin was better – he was the creator of the role, his dancing abilities were as great as always, but he didn't look very inspired.
However Maria Alexandrova as Ramze and Gennady Yanin as Taor’s servant looked very good. Their warmth and commitment looked especially pleasant in comparison with the coldness of the leading dancers. I also liked Anna Tsigankova, Denis Medvedev and Anastasia Yatsenko who danced variations.
Posted 29 October 2003 - 10:49 AM
Akimova, we don't want any disagreements or unpleasantness from another message board to spill over here. Any opinion is welcome here. We discuss, we don't argue.
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users