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Kirov's "La Bayadere" in Washington DC


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#46 Hans

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Posted 30 January 2008 - 08:57 AM

Ah, that's what I get for sitting in the cheap seats. I don't remember reading anything about opium in the program synopsis, though, but I could have missed that as well--I was mostly biding my time until the shades came on, and I can't check because I was so disappointed by the production and performances (Saturday night) that I threw away my program.

#47 YID

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Posted 30 January 2008 - 09:17 AM

Fadeev definitely puffed from the the hookah on opening night.

+1, and on Thursday too....
.... jsut finished reading his review, what an "UNHAPPY" person he is (to say the least and in the most politically correct term), and not a very good writer (at least in that review, don't wanna judge him after reading just that review)....
you can find out more about the history and staging of the ballet from Wikipedia - shame on him.
Thank you for pointing the link (at least I saved the picture).....
I truly enjoyed the 3 performances, Mnd, Tues, Wdn....

#48 Bill

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Posted 30 January 2008 - 10:32 AM

I remember seeing some hookah-puffing on Saturday evening, too. This was my first Bayadere. As I said in an e-mail to a friend -- another casual but interested ballet fan:

"It was magical. The first two acts are a campy melodrama about an Indian temple dancer and unrequited love. The third act -- the Kingdom of the Shades -- is supposedly an opium dream but it seemed to me to be a proto-Balanchine piece - very abstract. Each act got stronger, which is so rare. This was first staged in 1877, and it must have blown away the audience way back then. The lead ballerina was much too thin but (admittedly) had a beautiful line. The male lead looked like Roger Federer and was very solid but not spectacular. Overall, awesome."

I can see how Macaulay could get jaded, having seen La Bayadere evolve over the years, and his review does seem to be a bit weary of it all. But I think that this production would be a great "starter" ballet for young audiences. The plot is simple enough so that the mime works with a minimum of confusion, and the last act reminds audiences of how glorious ballet can be.

I'll be interested in the reports from New York.

#49 Solnishka79

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Posted 30 January 2008 - 10:58 AM

Sarafanov was very indulgent in the opium on Sunday.....
When I danced in Bayadere, our Solor drank-I guess opium toking is a bit too taboo...

#50 bart

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Posted 30 January 2008 - 02:22 PM

Although I'm far from anyplace the Kirov will ever tour, it's been fascinating to read these comments. Thank you to all who have posted. And thanks for the link to the NY Times review.

I hope everyone gets a chance to read Hans's thoughtful review on his blog, Details. It offers a perspective somewhat different from some of the other posts on this thread.

The link to this is here: http://www.ballettal...m/blog/details/

#51 kfw

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Posted 30 January 2008 - 05:29 PM

I can see how Macaulay could get jaded, having seen La Bayadere evolve over the years, and his review does seem to be a bit weary of it all.

I don't think Macauley sounds jaded in the least. What he sounds like is someone who passionately loves the art form and the company -- "I have loved and been awestruck by this company in the past and await its return with hope that is too strongly mixed with frustration" -- and wants to see it at its best. This is why expresses not boredom but disappointment with specific aspects of the production.

#52 Bill

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Posted 30 January 2008 - 07:38 PM

I don't think Macauley sounds jaded in the least. What he sounds like is someone who passionately loves the art form and the company -- "I have loved and been awestruck by this company in the past and await its return with hope that is too strongly mixed with frustration" -- and wants to see it at its best. This is why expresses not boredom but disappointment with specific aspects of the production.


I meant jaded as in "weary," not bored or cynical. Until the finale of the review, quoted above, the reviewer struck me as being at a bit of a low ebb. I mean, were the good old days really so much better? Maybe so, but he sounded so hopeless to me. He rallied at the end, absolutely (and expressed some hope, good for him).

#53 leonid17

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Posted 09 February 2008 - 05:48 AM

La Bayadere
Kirov-Mariinsky Ballet
Kennedy Center
January 23, 2007

Nikia - Uliana Lopatkina
Solor - Ivan Kozlov
Gamzatti - Tatyana Tkachenko

Another magnificent performance but markedly inferior to last night's Vishneva/Fadeev/Tereshkina edition.

Yes, Uliana Lopatkina displayed her divine Stradivarius instrument, superior to Vishneva's or anyone else in the company (or anywhere else on earth, in our lifetime).


An opinion is an opinion is an opinion.

Whilst I have admired Lopatkina's remarkable control in the white acts of both Bayadere and Swan Lake, she remains offensive to me in the hyper-extensions and lack of involvement in her role. An exquisite class room rehearsal is not a performance in my opinion.

For me Lopatkina's hyper-extensions might be called neo-classical, but they are a long way from the academic classical ballet aesthetic and I cannot understand why anyone would want to see such dancing in a Petipa(esque) ballet.

I envy everyone who has seen these latest performancesas it appears the company is in good form, as I had heard a number of negative comments of late about the state of the Kirov.

#54 canbelto

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Posted 09 February 2008 - 10:57 AM

Whilst I have admired Lopatkina's remarkable control in the white acts of both Bayadere and Swan Lake, she remains offensive to me in the hyper-extensions and lack of involvement in her role. An exquisite class room rehearsal is not a performance in my opinion.

For me Lopatkina's hyper-extensions might be called neo-classical, but they are a long way from the academic classical ballet aesthetic and I cannot understand why anyone would want to see such dancing in a Petipa(esque) ballet.


While I agree that Lopatkina's performance had the careful calculation that can be off-putting I'm puzzled that you refer to her "offensive" hyper-extensions. She really is not an ear-whacker at all. She is very long-limbed yes, and flexible, but definitely not hyper-extended in my opinion.

#55 Helene

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Posted 09 February 2008 - 11:14 AM

When I saw Lopatkina perform the Lilac Fairy in Berkeley a few years ago, I was surprised by the height in her developes in second, having read her described as a classicist. They weren't the 185 degree type performed by Somova, and they were performed quietly, but they still were in the 160-170 degree range.

#56 Natalia

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Posted 12 March 2008 - 08:10 AM

I also vote for Raymonda as the next installment but....

I have a strong suspicion that we may be getting Don Quixote next year -- huge popular fave of the Kennedy Center, which was last performed by the Bolshoi in the 2006/07 season...and it usually makes an appearance every other year on this stage...and we have yet to see the Kirov version in DC, after all of these years of annual tours.......


:)


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