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St. Petersburg Ballet Theatre"Would the real ballet company please stand up?"


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#31 koshka

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Posted 24 February 2008 - 07:51 PM

<from Natalia>
Class of '98 were Anton Korsakov

Aha! Now I realize why Korsakov looked so darn familiar on a visit to StP shortly thereafter--I saw both BAM performances that day. Sure wish they'd do something like that again.

#32 wildaboutballet

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Posted 25 February 2008 - 07:02 AM

Here is what Tatchkin's troupe is known as back home: Imperial Russian Ballet Theater

Look at the names of companies & venues on the following list -- 3rd company down in the 1st column, also identitied as "Tatchkin Ballet" at Fontanka Embankment no. 65:

http://www.rustrip.com/index.html?sid=[sid]&lang=eng&page=all_stores



Actually the name Imperial Russian Ballet Theater is the name of the theatre not the name of the company The site is very popular with tourists who like to go to Mariinsky and other venues

#33 wildaboutballet

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Posted 26 February 2008 - 07:47 AM

[...... A two-time reject from the Kirov (Mariinsky Theatre) and Musorgsky Theatre and a verbal punching bag for dance professor Elvira Kokorina during her time at the Vaganova Ballet Academy ....


Well at least this is absolutely right. I wonder how many New Yorkers remember Kolesnikova during the January 1998 visit of the Vaganova Academy to the Brooklyn Academy of Music, in a joint concert with the SAB? Kolesnikova was cast in the "Frescoes Pas de Quatre" from StLeon/Pugni's Little Humpbacked Horse. Nice quartet but hardly the stuff of "Prima Ballerina Assoluta." The female stars of that Vaganova tour included Irina Golub (lead graduate of '98, invited to Kirov-Mariinsky), Irina Perren (another top grad of '98, invited to join Maly-Moussorgsky as principal), Alesya Boyko (who went to the Bolshoi, not Kirov), Ekaterina Osmolkina (star of the class of '99) and Tatyana Tkachenko (star grad of '00). Among the star men of the Class of '98 were Anton Korsakov and Mikhail Ilyn (now w/ ABT). I even remember little V. Schklyarov -- now the rising classical male of the Mariinsky -- as the boy in the Nutcracker Pas de Trois, in that concert. I barely remember Kolesnikova & would have not remembered had I not gone back to my programme of that night. This puts things into proper perspective, IMO.



Natalia thank you for sharing with us this bit of history. It’s a fine example of young pupils of the Vaganova Academy and their development. The Academy obviously sent their ’98 star pupils who had great potential. Although on Mariinsky site I do not see these dancers as stars…not even principals.
But this iprogramme s excellent archive material for the reputation of the school, and a great example for students who want to study classical ballet and become a great ballerina like Kolesnikova. Congratulations on owning such a programme - perhaps Irina Kolesnikova will sign it for you if you see her in dance in USA!

If you go to Irina’s website you can see the words of eminent press critics and their opinion of Irina and her career – here are two examples

“The ballad of Reading’s Odetta”

“…Kolesnikova is truly something else. An amazing line, arms that sing and irreproachable musicality. However awkward the tempi played by the conductor, she was always at one with the orchestra. What is more, she not only danced but truly lived the part. She filled every movement with an exact and clear meaning, revealing the true characters of the black and white swans. This is an example of ballerina as actress, with excellent technique into the bargain. She did not only choose not to simplify the part, which is rightly considered to be one of the most difficult in a ballerina’s repertoire, but indeed to complicate it; she performed Odile’s variations with double spins and in attitude. And all with a marvellously expressive face and a fine stage charm…

Kolesnikova graduated from the Academy of Russian Ballet in 1998 having studied with Professor E V Kokorina. According to the Professor, Irina was the best in her class in terms of intuition, ability and diligence, but the ballet authorities of the Mariinsky Theatre never had a really good look at her and so, no matter how hard the Professor put her case forward, she was never invited to the Mariinsky. Now it is especially pleasant for her to see Irina’s talents being put to good use…”

Aleksei Gosudarev – St Petersburg Chas Pik - February 2001, Russia


What a treat, then, to discover St Petersburg Ballet Theatre, a bona fide group now 10 years old which sources its talent from the Vaganova Academy (the same stable as the Kirov) and boasts at least one principal dancer of world calibre.
Why the wonderful Irina Kolesnikova wasn't snapped up by Russia's premier company straight from school is a mystery...

Kolesnikova has supermodel looks, a glittering technique and all the big classical roles in her lap…
Swan Lake shows off her qualities best: her Odile is no fragile, shrinking thing but a sleek, strong creature, exulting in her own length and flex of limb as much as she is trapped in misery. Among the scores of interpretations I've seen, only one, the Kirov's Uliana Lopatkina, another tall ballerina, has taken the White Swan's Act II adagio at so daringly slow a speed.
Kolesnikova's supreme technical control makes this possible, while her Garbo-like smoulder creates a transfixing allure, both regal and unbearably tender…

Jenny Gilbert – Independent – 19 December 2004 – London, UK

#34 wildaboutballet

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Posted 26 February 2008 - 07:50 AM

I think the main way to know which ballet company you're getting is: if Irina Kolsenikova (or Mrs. Tatchkin) isn't splashed all over the posters and promotional material, it's not the Tatchkin troupe. :)


Canbelto what does it mean 'Mrs Tatchkin' who is "splashed on posters"

#35 Mashinka

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Posted 26 February 2008 - 08:07 AM

In private life Irina Kolesnikova is Mrs Tatchkin.

#36 Natalia

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Posted 13 March 2008 - 09:30 AM

I went last night to the St. Petersburg State Academic Ballet Theater (SPSABT) performance of GISELLE in Rockville, MD. It was a beautiful show, led by two fabulous soloists who I'd love to see again soon: petite redhead Anna Borodulina and tall-lanky-blonde Yuri Mirov (formerly from the Tatchkin troupe with other name - Yuri Gloukhikh).

Alas, I can't tell you the name of the Myrta...'cause she was not announced. (!!!!) Perhaps it's all for the better, as she was very wooden and 'heavy-mannered' (LOUD shoes!) in her delivery. The other negative note was sounded by the Peasant PDD pair (again, nameless), partly due to their being mismatched in height and weight...a swan lift imploded, among other troubles.

Back to the positives. The corps was impressively spot-on, especially those Wilis in Act II. Designs and staging were traditionally lovely. Packed audience shouted 'bravo!' and gave a standing-o, esp for the leading ballerina and for company A.D. Yuri Petukhov, when he took a bow at the end. All in all, I'd rate them above the Tatchkin troupe.

Will try to post a a more detailed review later in the Recent Performances space.

Also, I learned that the SPSABT has just been renamed "Yakobsen Ballet" back home in Russia. Fianlly, I was happy to see that two of my favorite St.P dancers from the '90s are coaches with this troupe:

* Elena Sherstnyeva - for years the top female chatecter artist of the Kirov-Mariinsky, excelling in national dances

* Irina Kirsanova - THE classical 'prima' of the Maly-Moussorgsky Theater Ballet (now Ruzimatov's troupe, with nae "Mikhailovsky")...and the greatest Esmeralda of the second half of the 20th C. A truly great dancer. No wonder the level of dancing of last night's GISELLE was so high!

p.s. - we mentioned Anton Korsakov above. I found out that Korsakov was a classmate and 'best pal' of last night's Albrecht, Yuri Mirov, both having graduated in the Vaganova Academy's 1998...the gang that went to Brooklyn that memorable February long ago.

#37 Ostrich

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Posted 13 March 2008 - 10:04 AM

Also, I learned that the SPSABT has just been renamed "Yakobsen Ballet" back home in Russia.


Glad to hear it. Also happy to read your review - I fell in love with this company first time I saw them!

#38 loveballett

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Posted 14 March 2008 - 07:56 AM

This sounds interesting - i have not seen them but with all this chat about them using lots of different names, i must say I was not
inspired to see them if they came my way!!
I wonder why, if the Yacobsen company are so good, they only play arts centres and colleges ? Iknow the Tachkin company plays major cities and venues, with an orchestra so I guess they are in a higher league.

#39 Ostrich

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Posted 15 March 2008 - 11:22 AM

I wonder why, if the Yacobsen company are so good, they only play arts centres and colleges ? Iknow the Tachkin company plays major cities and venues, with an orchestra so I guess they are in a higher league.


Don't forget that it is often publicity and spending power that makes all the difference in where a company is able to perform.

#40 Amy Reusch

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Posted 15 March 2008 - 07:44 PM

There's a review in the Washington Post about the company's performance of Giselle at Montgomery College:

http://www.washingto...8031403866.html

Credit for heightening the emotional register (and for transcending the tinny-sounding music) goes largely to Anna Borodulina, who danced the title role. In Act 1, Borodulina's Giselle was such a girlish, impulsive, bashful little thing, you'd have sworn she'd just returned from the orthodontist's office.



#41 Mel Johnson

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Posted 16 March 2008 - 04:45 AM

Where the companies perform MAY also have something to do with how they see their missions. Robert Joffrey started his company by playing colleges and arts centers off the beaten path to bring ballet where it had seldom or never been seen before. If that's the Yakobsen goal, more power to them. If the Tatchkin company wants to play major cities, more power to them, too.

#42 Amy Reusch

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Posted 17 March 2008 - 08:35 PM

Review by Robert Johnson in the NJ Starledger didn't much care for the company's "Carmen"

Spare yourself.


http://www.nj.com/en...d....xml&coll=1


Oh well. Maybe he would have liked the Giselle better. I now have tickets & will post a review.

#43 wildaboutballet

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Posted 18 March 2008 - 10:17 AM

Review by Robert Johnson in the NJ Starledger didn't much care for the company's "Carmen"

Spare yourself.


http://www.nj.com/en...d....xml&coll=1


Oh well. Maybe he would have liked the Giselle better. I now have tickets & will post a review.



Amy - thanks for the heads up ........but I hope you did not miss the point Mr Johnson made - the Yakobsen company have yet another alias "Younger Brother to the Kirov" How embarrassingly cringe-makingly worse can this get ! I admire loyalty but I think it is hard to support a company which gets such a review from a respected critic (not a website wannabe) Mr Johnson says "It's hard to know who should be more ashamed -- the impresario, Columbia Artists Management or local presenters -- for trying to swindle audiences by linking this garbage to the finest in Russian ballet."

#44 Ostrich

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Posted 18 March 2008 - 11:44 AM

I admire loyalty but I think it is hard to support a company which gets such a review from a respected critic (not a website wannabe) Mr Johnson says "It's hard to know who should be more ashamed -- the impresario, Columbia Artists Management or local presenters -- for trying to swindle audiences by linking this garbage to the finest in Russian ballet."


I haven't seen their Carmen. If it is the one-act version created for Pliesetskaya, I can imagine that it wasn't well received. It generally seems to get very unfavourable reviews in the west, no matter what company performs it. However that may be, with the last part of Mr Johnsonson's statement I can't agree. The St Petersburg State Academic Ballet Theatre is part of the "finest in Russian ballet" as far as I'm concerned. Certainly they are in no way inferior to the travelling troops that the Bolshoi sends around (I'm not talking about the full-season, all-star casting that places like London get). I'd love to ask Mr Johnson in what way they failed to meet this standard.

BTW, I don't know if I just couldn't access the rest of Mr Johnson's review, but his arguments seem to be entirely unsubstantiated. He describes the production as "teeth-grindingly awful". In what way? Choreography? Decor? Dancing? Casting? Unless there is more to this, I'm not taking what he says on faith.

#45 Natalia

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Posted 18 March 2008 - 01:45 PM

Don't judge the company on its new choreography -- such as the weird 'R&J' with Queen Mab and now this. This is not the Alonso Carmen which is a very fine work.

This fabulous troupe should stick to its strengths: the classics and the Yakobsen miniatures.


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