New 'Le Corsaire' at Bolshoipremieres June 21, 2007
Posted 31 July 2007 - 10:05 AM
I'm looking forward to attending performances in London on the week of August 13 (two Corsaires, two mixed bills and one Bright Stream). In the meantime, I'm getting my 'fill' of Bolshoi-in-London through these reports. Keep 'em comin'!
Posted 01 August 2007 - 01:09 AM
you were interested in the music of Pas des eventailes. Here are mp3-files – the live record which is not prefect, of course. Anyway it gives an impression. Gulnara’s variation is by Zabel, all others by Drigo.
3. Variation for six soloists
4. Gulnara’s variation
5. Male soloist’s variation
6. Medora’s variation
Posted 01 August 2007 - 06:45 AM
The Zabel Gulnare variation is the usual Gulnare Var. from Jardin Anime in other productions...but what an odd-sounding orchestration! Ditto the Medora variation here, which most of us know as the Kirov Medora Jardin Anime variation which, I thought, came from an earlier ballet called 'Pygmalion which, I thought, was by a composer other than Drigo. Oh well...who has time to follow these things?
Interesting, too, to hear Drigo's Enchanted Forest adagio -- what I mentioned earlier as the lovely melody in the 2nd Igor Zapravdin CD -- as the adagio here. Do you know if other parts of Enchanted Forest have been borrowed for the Bolshoi-Ratmansky Pas Des Eventails?
Posted 01 August 2007 - 07:15 AM
Prince Trubetskoi. Yes, that’s what Marc told some time ago. Bolshoi started to sell the booklet on Le Corsaire just at the last dressed rehearsal with Lunkina. And then I asked Burlaka why Trubetskoi was not mentioned between the composers and referred to Pygmalion. He answered that indeed Prince Trubetskoi composed the ballet but this variation belonged to Drigo. The other day, at the premiere, I met him again and asked where from Drigo music came to Pas des eventailes. And he told about Enchanted Forest. I suppose he meant not only the variation but all the rest too.
came from an earlier ballet called 'Pygmalion which, I thought, was by a composer other than Drigo.
Yuri is in London now. Soon he is back and I hope to interrogate him in more details. During the premiere it was not possible to talk in a normal way.
Posted 01 August 2007 - 09:39 AM
if mem. serves the title/credits to L'ADOLESCENCE a 1960s french film that includes footage of egorova in her little ballet studio, teaching some french students, refers to egorova as the 'princess trubetskoi' or some such.
is there any connection between this and the compose/librettist known as prince trubetskoi?
Posted 01 August 2007 - 10:00 AM
Like Mikhail, I'm dying to find out if the ballerinas shouted "All aboard!" or "Ahoy, mates!" or whatever-else in London. I guess that I'll find out for myself on 15 August .
Posted 01 August 2007 - 10:10 AM
Posted 01 August 2007 - 11:14 AM
Pygmalion :Original title: Kiprskaia statuia ili Pigmalion. Chor: Marius Petipa; mus & lib: Prince I. IU. Trubetskoi; scen: Mikhail Bocharov, Matvei Shishkov and Heinrich Wagner; cos: Grigoriev. First perf: St. Petersburg, Bolshoi Theater, Dec 11, 1883 (O.S.).//First perf in Moscow: Bolshoi Theater, Jan 20, 1891 (O.S.)
Posted 02 August 2007 - 01:49 AM
They shouted in Russian - "na abordage". Somebody at Ballet.co asked already what did this mean.
They did, all three of them. As was expected nobody in the audience had any clue what they were saying. I could hear people around me gasping and whispering "Huh??? What did she say??" In the interval I overheard several discussing the thing, with one person even suggesting (very seriously) that they should introduce surtitles to ballet performances... Anyway, it's not that vital and even if it would have been in English still many wouldn't have understood, as like Mikhail mentioned, it's totally unexpected.
Comments in the theatre were generally mild, but hardly ever enthusiastic. "Nice, but too long". Many disliked the costumes and wanted more dancing.
Posted 02 August 2007 - 02:13 AM
I suggest to watch two historical records I prepared for the Russian forum in view of the forthcoming premiere of Le Corsaire. I guess it could be now of interest here too. Sorry for the extremely bad quality.
These are flv-files, I use VLC-player – easy to find.
1992, Bolshoi, the première of Sergeev’s version. Nadezhda Gracheva dances Le Petit Corsaire. She shouts nothing
1994, Bolshoi, Grigorovich’s version. Galina Stepanenko dances the variation from the Slave pas de deux.
Posted 02 August 2007 - 06:58 AM
I found it an enjoyable production, though it felt long opening night--less so, but still a bit long, the next night. Openings are often just a hint 'off' and I think this was no exception and factored that in as best I could in assessing the performance. My guess is that by nights number 3 and 4--or by the time Natalia, that you see it!--it will be looking better and better. I have to add that I suspect one reason it feels long is that in some ways the greatest dance climaxes come early--two flashy pas-de-deux in Act I and the three odalesque variations and beautiful Jardin Anime (with the prettiest music -- Delibes at least I can remember) in Act II. Ratmansky's Petipa pastiche choreography for the Pas d'eventailles is the only big dance set-piece that occurs in Act III. I thought Ratmansky did a very fine job, but, still, the final dance climax of the evening is not exactly the choreographic highlight of it. Also, in this final classical sequence the heroine dances with a cavalier (not the hero) and, making the scene feel a little odd, she dances with a cavalier in front of her supposed husband, the Pasha, even though one of the ballet's regular jokes is the presence of Eunichs to mediate between the Pasha and his harem. I do NOT substantially object to any of this and am willing to believe anyone who tells me it is more or less authentic, but in thinking about why the evening felt long...well, the overall structure seems to me part of the problem especially on a night like opening night when the dancers were not, in my opinion, really 'sizzling' and the spectacular stage effects of the final scene did not come off.
That said, I did enjoy the production, more than the other two Corsaire productions I have seen. A mix of pantomime, classical set pieces and character dancing hinging on a senseless plot which the staging does not, and probably could not, make sense of. The production is, however, visually beautiful: it 'makes sense' so to speak to the eye: wonderful painted sets and even more beautiful (really, truly fabulous--detailed, varied, sparkly) costumes. As always with the Bolshoi I thought the character dancing was outstanding, a true highlight. Merkuriev--a terrific villain (Birbantio) and Anna Rebetskaya led the character dances opening night and as long as they were dancing I was enthralled--this was really the hands-down highlight of opening night for me and one of the highlights of the two evenings altogether--genuinely great dancing. Also, I think I am in love with her! The next night the character dancing remained strong, but not quite on their level. In the classical ensembles, I also deeply appreciated the fact that the company dances like a company; to me, at least, the dancers showed a real unity of style and the women in the corps roles and small ensembles were especially enjoyable for this reason. (Oh, and though Zakharova is one of their stars, the company does not appear to make a fetish of long legged, super thin, hyper-extended dancers. That's a plus.) Since I am most familiar with American Ballet Theater's production of Corsaire, I was struck by the fact that the ballet is really a women's showpiece and, especially, a showpiece for Medora. American Ballet Theater has made it over into a men's ballet. Here, the choreographic highlight was certainly the Jardin Anime--it overcrowds the Coliseum stage and the dancers were cautious, as if worried about a crash, especially opening night--and did I hear them talking to each other???--but nonetheless, at last, I feel I understand the scene's reputation as one of the great set pieces of Petipa. Even with the Kirov I didn't quite get it before. The scene is pure, gorgeous classical dancing. The sets do not include fountains, as does (or did) the Kirov, but the dancing is like a fountain -- one section arises and, as it 'falls' away to an end, another, just as beautiful, arises...by the second night the dancing was approaching to sheer pleasure. I do hope the Bolshoi brings this production to the Met--where presumably they would have the space they need to showcase the choreography properly.
I thought all the mime sections were well done--actually so well done that for my taste the effete pasha and, as I infer (and Mel mentioned), the 'stage Jew' Lankedem were a little queasy making, but I have no wish to argue with anyone about it--Gennady Yanin as Lankedem was especially good. I agree with Leonid that classical variations throughout had a few too many bumps and bobbles in finishing--and that fault was repeated the second night as well. But overall, for me, a nice festival of dancing. I especially liked Matvienko whom I found dashing and charismatic (evidently not everyone does) as well as a fine dancer. I also liked the way he partnered Zakharova--at one moment, in an overhead lift of the opening act he seemed to rise onto demi-pointe as if to lift her higher and higher. Zakharova is gorgeous and seemed especially ornamental in her use of her upper body--she also offered some very well articulated gargouillades in the Jardin Anime scene that the next night's ballerina (Alexandrova) did not pull off. The ballet's big tutus are especially flattering on her, and she now seems to have a more controlled relation to her own facility than she used to...but I did suspect she was a bit off. Turns (something she is known for) did not always seem one-hundered percent secure. I thought she was at her loveliest in sections of the Jardin Anime. Shipulina as Gulnare pleased me by her shear security though I did not find her as kittenish as Gulnare seems meant to be (at least in this version). I do not mean the remark about her security as faint praise; whenever she came on one felt one could just relax and watch her dance. The three odalesques have always been my favorite part of the ballet in other productions. Of the three dancers (same cast both nights) only Osipova made a strong impression on me (though the other soloists were better at the second performance). I was sitting in the last row opening night and from there she looked about 12 years old--a little older when I sat closer--with a big smile and stage-filling presence despite her relatively short stature. She seems to have a huge natural jump and a delightful earnest-while-joyful manner of presenting herself. She did a remarkable series of jumps along a diagonal, turning in the air in retire on each leap--very impressive opening night and maybe even more easeful and relaxed the next. I would love to see her in a big part. Among other featured dancers: both nights, Vasiliev put his heart into his dancing in the pas d'esclave, but not always his control and actually I wouldn't be surprised if Osipova jumps as high as he does. However, I know he is very young and would be happy to see more of him. I did very much like the two women who sort of 'led' the featured group of 6 girls in the jardin anime and also led the ensemble in the pas d'eventailles: I think these were Chinara Alizade and Anna Tikhomirova -- and if anyone knows which one of them was the darker haired girl, I would be happy to find out. I was very charmed by her. The male cavaliers to the ballerinas in the Pas D'eventailles did not make a good impression though Shpilevsky, who partnered Zakharova, is big and strapping which I like to see in a male soloist -- the next night the dancer performing the cavalier repeatedly made what I can only describe as outright mistakes (as well as bobbles on his jump landings)-- entering early and even getting in the way of the ballerina at one point towards the end.
At the second performance, Tsiskaridze was a very engaging Conrad. I did think that his dancing in his big solos was not so easy and intense as I remember it being in New York (in the Shades scene of Bayadere) a few years ago. And he danced what appeared to be an easier version of his 'coda' solo in the act I pas de deux than Matvienko. But I enjoy his long lines and joyful presence. As most people reading this probably know, he has recently recovered from a serious injury. He was an especially happy Conrad, smiling at his ballerina and happily smooching her when he got the chance, also moving beautifully through his various mime scenes and set poses--which is pretty much what most of the ballet gives Conrad to do. When Tsiskaridze throws up his arms over his head it's an image one can savor--a quality that is especially necessary for the ballet's final tableau. Maria Alexandrova was terrific as Medora: a light, bounding leap and a bounding personality to go with it. Her dancing showed the snap and excitement that opening night was missing She also exuded authority--almost all her solos, including speedy, flashy turns etc., ended with a kind of slowing of the movement as if to emphasize her sheer control as well as the beauty of the steps. She is not a "pretty" dancer exactly, but a very vivid one. Moreover in Act III, she loosened up just that little bit extra and, to my eyes, was dancing with the sparkle and magic I associate with the greatest dancing. As a result too, the Pas D'eventailles looked like a proper dance close-out for the evening. I would say that Alexandrova along with Osipova and Rebetskaya (with Merkuriev) offered the dance highlights of my two evenings. Yatsenko as Gulnare was interesting to me: I am so used to 'leggy' dancing that initially I found her lack of extension, at least as she danced this role, something I had to get used to--that is, she seemed a little constricted to me. But I quickly came to enjoy her musicality. She and Alexandrova are more of a match physically than Shipulina and Zakharova which gives the Jardin Anime a nice 'sister' quality--hardly necessary to it but still enjoyable.
Work took me to the United Kingdom--I'm home now, so no more Bolshoi for goodness knows how long, but I will be reading all the reports.
Posted 02 August 2007 - 09:01 AM
Your comment on the Jardin Anime scene is so evocative that I really want to see this again, even in another production, if only to get a look at what MIGHT be made of it.
The scene is pure, gorgeous classical dancing. The sets do not include fountains, as does (or did_ the Kirov, but the dancing is like a fountain -- one section arises and, as it 'falls' away to an end, another, just as beautiful, arises...by the second night the dancing was approaching to sheer pleasure.
Posted 02 August 2007 - 10:11 AM
Posted 02 August 2007 - 11:13 AM
Leonid, thank you. And what did Medoras cry in Le petit corsaire?
It sounded like "na bordazh".
To add a liitle to what I have said before, I did not find the first night performance cohesive and the fault appeared to lie several directions. The first was that the stage was too small and the performances of the dancers in general was to small. The main fault lay with Zakharova in my opinion. The choreography challenged her and she was unable to give a dominating performance of ballerina quality. She struggled with almost all the choreographic combinations that had turns and her smile was fixed, too frequent and to broad especially in the intrada to the big pas de deux. . Her dancing did grow more assured and flowing in the last two acts, but IMHO was not a performance that a (the) leading ballerina of the Bolshoi Ballet could be proud of.
Vasiliev showed ballon and spirit in his variations but suprising his face seemed rather plain. He is short and of-classical/demi-caractere type. Gennadi Yanin as Lankedem gave the most complete performance on that first night. Osipova is much vaunted but I did not find her as exceptional as I was led to believe. The "Jardin anime" scene was too crowded and the stage for this scene which I love in the Vinogradov version failed entirely for me.
It seemed to me on the way home that an opportunity had been missed. Some choreography appeared unmusical or of the wrong weight and the score at times appeared extremely thin. A view which I was to change on the second night, due entirely to the appearance of Maria Alexandrova as Medora who appeared to inspire the company.
Ed: to remove two words
Edited by carbro, 02 August 2007 - 12:50 PM.
To add "[/quote]" to make the quote box :)
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