Ekaterina Kondaurova danced very well and was a real surprise and pleasant change with her long, linear, graceful appearance and her more relaxed characterization.
The production - There are some things I like very much about this production, other things I prefer the ABT way (thatís the only other production Iím particularly familiar with). Most notably, Myrthaís role is MUCH better in this production, itís a much bigger role and Tereshkina danced it divinely at all 3 performances so far. I donít know where to start describing her Ė the beautiful romantic epaulment, the soaring leaps, the long, articulate feet. And what a contrast in style from ABTís approach, where Myrtha tends to be danced in a hard, brittle fashion. Tereshkina had the most gorgeous romantic flow to her movement, and especially her opening solo was tinged with sadness & regret. Yet she commanded both the stage and the Wilis unquestionably. I will never forget it.
nysusan, thanks for this lovely description.
I also thought that Viktoria Tereshkina did beautifully. I felt that she danced very securely with an imposing presence throughout. One thing that I liked very much was when she ws doing a backward series of jumps, first landing in attitude(?) (back leg bent) and then landing again with the same leg straighter , doing a beautifully defined up and down motion. With each performance she became more relaxed and lyrical.
"I hope someone else can describe it in more detail Ė thatís all I can manage." [nysusan quote]
In reference to your fine review, I don't think that anyone could ask for much more than the detailed posting that you have given us.
The end of Act I was done well by everyone. Daria Pavlenko's second performance seemed slightly more nuanced (which I liked) than the first. If taking children (even adults) to see Giselle, I like the idea of clueing them in ahead of time about this scene and telling them that Giselle's love does triumph in the end.
The Peasant Pas de Deux was performed all four times by Ekaterina Osmolkina and Vladimir Shklyarov. Like many of the dancers that I observed, they became better each time. They were a pleasant and 'airy' change as well.
Ekaterina Osmolkina's dancing was light, delicate, clean and lovely. In her fine jetes she did a very nice, clearly defined double flick of the lead foot. Vladimir Shklyarov's dancing was fine and graceful with very good 5th position landings. This seemed like a technically fine performance with an abundance of charm.
I hope to see these excellent and 'heart-warming' performers again in November in nearby Chicago. It's been a wonderful 'voyage' and I've loved it.
I wish Alina Cojocaru a great continued success in DC and look forward to reading more about it here. I also look forward to reading chiapuris' Bolshoi reports from London as well as all the other fine reviews and comments that make this forum such a pleasure.