217 replies to this topic

[YID]

drb, on Apr 7 2008, 09:10 PM, said:

As posted on BT October 30, Gergiev was just scheduled to conduct Scheherazade, and Zelensky to dance, for the White Nights Gala.  So perhaps this was not for damage control, but to help sell $25,000 tables at the post-performance event.

two comments, 1) i wanted to compliment the two (other, besides the main three) soloists in Chopeniana, Svetlana Ivanova (the blonde) and Maria Shirinkina (the dark haired one). I totally loved the latter's dancing, and couldn't resist but asking a girl (strongly resembling her) exiting the back stage door who the second dancer was, and it was her. A very Sweet, Nice, (on-the shy-side) person. PS: Maria Shirinkina is in the center on picture one of this link (just found it - love the pictures) http://www.mariinka....opic.php?t=1397
2) I was lucky to see a lot of dancers heading to that gala, and you should see Sarafanov in a business (tailored) suit, with a new (man-ly) haircut. Extremely HANDSOME. He's not that short, not a basketball player height, but not short at all. Actually a lot of male dancers in the company are very very tall.

PS: I found Ms. Vishneva's actions rude, when she almost shoved off (only) 6 people waiting for her autograph, and I was sad for 2 little girls holding their Diana's ($150) portrait books for signing (she was not running late ;-)) there were many more dancers heading to the gala afterwards ;-)). I found Uliana Lopatkina much more graceful and better mannered (even off-stage) (she didn't refuse signing or even pictures taken in DC by a friend of mine in a freezing cold ;-))

[drb]

Tuesday, April 8, 2008

Tereshkina and Lobukhin

The new classical program is a dream for corps watchers.  First up, Le Corsaire.  The selection of the PdT for Medora (Vishneva), Slave (Korsakov), and Conrade (Korsuntsev), plus Jardin anime was great for pure and virtuosic dancing, but hardly supplied circumstance for Diana's dramatic creativity.  While of course she was beautiful, why must they stress triples in the fouette turns?  Vishneva is a deep artist, why diminish her into a trickster?  The Odalisks, Ivanova, Novikova, Gonchar, took turns being the best of the three.

Diana and Acteon, not just the gala entertainment PdD, featured a stunning corps plus the amazing Tereshkina, who somehow combines classical perfection with massive amplitude and glamor.  She is so alive, and why not, with the spectacular Mikhail Lobukhin as partner?  He not only looks like he's from the glory days of Bolshoi male dancing, but he dances with that level of intense virtuosity.  Excepting Zelensky, I've not seen another man in this company that comes close.  Can't wait for Viktoria's Medora, Kitri, and Farrell (Serenade and Ballet Imperial, really TPC2).

Next up, the Don Q PdD.  Somova came out with much less chin and a much more relaxed visage.  And as time went by, it just got better and better.  She (no high extensions) and Sarafanov put on a show.  He may push himself too hard trying to be extra virtuosic; a little less fancy, a bit more clean, would be even more impressive.  Alina's fouettees were spectacular, with many triples.  And no problems.  Her way with the working leg may still take some getting used to, but was a level above last week's.  One can certainly see sz's point about Ms. Somova (above).  I wonder how she would be had she had another coach, and not have been pressed into big roles way too young...

Lopatkina's Shades began without Vishneva's frozen stillness.  But early on she had that mysterious something that forced my body into shivers.  Certainly no story, certainly deep immersion into the music.  Not just beauty.  Ivanchenko, who had partnered Vishneva's Nikiya so well, again excelled.  The spell was broken with difficulties staying balanced during the scarf scene.  Very possibly to do with the confining stage.  Then later she danced a variation with a pretty smile.  Dramatically, I don't get it; perhaps something in the music brought her great pleasure?  But toward the end, her arms began dancing tactilely with the music, as if she'd become Balanchine's fish swimming in the music, and one could feel its waves.

[Ceeszi]

I could not resist the opportunity to go back and see the Kirov again.  On Sunday, I was in the last row of the orchestra.  Last night, I was in Rear Mezzanine.  It just seems so far away from the stage before the curtin opens.  The woman sitting next to me sat down, turned to me and said, "Oh my goodness - these are awful seats!"  The last time I was in Rear Mezzanine was for last year's Youth America Grand Prix Gala.  Last night's audience was much better behaved - no screamers - but it was an audience scattered with people who felt like thay had to applaud every single big trick.  Luckily, they were in the minority and did not take over.  Someone did take a flash picture during the last act; the woman in front of me could not sit still; and another person to the right of me coughed all the way through the first two acts (to the point where they actually had to get up and leave both times).  But other than that, I had a really wonderful experience!

Act I began with Le Corsaire (Le Jardin anime and the Pas de Deux).  The ballet began with Diana Vishneva dropping a flower not once, but twice!  One was picked up, but the other was left on stage.  I sucked in my breath when one of the Odalisk girls danced right over it.  The Odalisk girls tonight were Sevtlana Ivanova, Olesia Novikova, and Nadezhda Gonchar.  Finally, one of them picked up the flower and got a round of applause for doing it!  Gonchar (who I also saw on Sunday) really continued to impress me.  (By the way, it looks like she went to a tanning booth - she was noticeably darker than her sister Odalisks!)  The beautiful Pas de Deux was danced as a Pas de Trois with Vishneva being joined by Anton Korsakov as Ali the Slave and Danila Korsuntsev as Conrade.  Vishneva was not perfect technically, but she radiated joy and happiness throughout her dancing and as always, I could not take my eyes off of her as she twirled around the stage.  I was impressed by Korsuntsev's leading-man presence and Korsakov was wonderful in his solo.  The costumes (as on Sunday) were just extraordinary!  Overall - corps, Odalisks, and the three leads - beautiful!!

Act II began with Diana and Acteon with Victoria Terekshina and Mikhail Lobukhin.  I had the great pleasure of seeing Terekshina as the Princess Gamzatti in Washington DC this past January.  Last night, she was joined by a beautiful corps of maidens.  Terekshina has such purity and clean lines in her dancing and Lobukhin was good in his solo.  He was agressive, but did not go over the top as I have seen other dancers in the past (no karate kick wheelbarrow move for him!)

Then, came the moment I was looking forward to with nervous anticipation.  This was the first time that I had the opportunity to see Alina Somova live.  Based on what people have written about her, I did not know what to expect.  When I first started reading this Board, I remember that Svetlana Zakharova was kind of a controversial figure.  Then, I had the chance to see her live in Don Quixote in the summer of 2005 and I thought she was marvelous!  Going into last night, I thought that maybe Somova's kind of dancing might be suited for the role of Kitri.  Well ........ I was very pleasantly surprised!  I really thought she was lovely!  She only did one move which would be considered "ear-whacking" and I could not see the nails from Rear Mezzanine -     Her technique on her fouettes was a little funky, but overall I really liked her and she was my favorite of all four leading ladies last night!  She was joined by Leonid Sarafanov, who had some good moments and some shaky moments.  Ekaterina Osmolkina was not very impressive in the Variation.  I thought this really belonged to Somova -  

Act III was really the whole reason that I wanted to come again - to have the opportunity to see the Kingdom of the Shades.  How much I love this!  Last night we had Uliana Lopatkina and Yevgeny Ivanchenko.  I liked Ivanchenko so much more in this, than in Sunday's Chopiniana.  Sunday, he really did not impress me at all, but last night he was a wonderful Solor.  Lopatkina was lovely throughout, although she bobbled a little in the scarf dance.  The three solo Shades were all spot-on - Olesia Novikova, Nadezhda Gonchar, and Ekaterina Kondaurova.  The corps was magnificent.  There were some grumblers around me who complained that there was no ramp.  But overall, a beautiful Kingdom of the Shades.

How happy I was that I came back to see the Kirov again.  I think that this might be it for me.  But what will stand out in my mind from Sunday and last night will be Lopatkina's swan, Vishneva in Scheharazade, and Somova's Kitri!

[Natalia]

Thanks for the early reports on the 2nd Petipa/Vaganova classical program. I am very happy to read that Somova is dancing with greater restraint; as I wrote earlier, she was dancing in a more elegant manner last January in Washington, DC (unlike at City Center), which made last week's displays all the more puzzling.

Thrilled to read about the continuing rise of Viktoria Tereshkina. It's been a very long time since the K-M has appointed a female Principal...since Daria Pavlenko, to be exact...they're down to only six (in order of seniority - Ayupova, Makhalina, Nioradze, Lopatkina, Vishneva & Pavlenko). Could it be Tereshkina's turn next? Among the current eight female "First Soloists," Tereshkina and Osmolkina appear to have the greatest opportunity to be elevated to Principal. Somova & Obraztsova are both certainly likely candidates for the future but those two are still in the "Second Soloist" rank, looking to move up to "First Soloist" next.

I am doing another of my overnight Delta Shuttle trips to NY today to see the 2nd classical program -- with particular interest in observing Lopatkina's Medora and Novikova's Nikiya, although all of the offerings are of great interest. So I'm off to the airport around 1pm this afternoon...flying back to Washington on tomorrow's 6:30am Shuttle and right into the office at 8am...all for our beloved Kirov-Mariinsky Ballet and nothing else!

[nysusan]

YID, on Apr 8 2008, 05:47 PM, said:

two comments, 1) i wanted to compliment the two (other, besides the main three) soloists in Chopeniana, Svetlana Ivanova (the blonde) and Maria Shirinkina (the dark haired one). I totally loved the latter's dancing, and couldn't resist but asking a girl (strongly resembling her) exiting the back stage door who the second dancer was, and it was her. A very Sweet, Nice, (on-the shy-side) person. PS: Maria Shirinkina is in the center on picture one of this link (just found it - love the pictures) [url=http://www.mariinka.org/forum/viewtopic.php?t=1397]http://www.mariinka....opic.php?t=1397[/url

Many thanks, YID, for identifying that lovely dancer. I’ve enjoyed watching her and hope to see what she can do in soloist roles soon.  In another forum it was suggested that Elizaveta Cheprasova might be the luminous brunette who some of us found so enchanting in the corps and as one of the 2 demis in Chopaniana. Ms. Cheprasova is scheduled to dance the 1st Shades variation  tonight and tomorrow so we’ll know for sure soon enough!

I was also in the house last night and just want to mention that even though Novikova was listed as a soloist in Corsaire and Bayadere it did not look like her in either one. I think it was Selina as the third Odalisk girl along with Ivanova and Gonchar and possibly Valeria Martynyuk with Gonchar and Konduarova as the 3 shades soloists.

I also thought that Somova was fine in Don Q but, again, I’m not sure if it was because she showed more restraint or because the material was more suited to her style. As far as I’m concerned you can’t really be too flashy in this type of thing and there’s no legato line to the music so her lack of fluidity was not an issue. I still  really dislike the look of her fouettees but she sure can turn!  

I thought that Lopatkina was having an off night - which means that she was merely wonderful rather than miraculous. Tereshkina & Lobukhin were the stars of the night for me - I like her more each time I see her and he was outstanding, too.

[YID]

nysusan, on Apr 9 2008, 10:39 AM, said:

Many thanks, YID, for identifying that lovely dancer. I’ve enjoyed watching her and hope to see what she can do in soloist roles soon.  In another forum it was suggested that Elizaveta Cheprasova might be the luminous brunette who some of us found so enchanting in the corps and as one of the 2 demis in Chopaniana. Ms. Cheprasova is scheduled to dance the 1st Shades variation  tonight and tomorrow so we’ll know for sure soon enough!

I was also in the house last night and just want to mention that even though Novikova was listed as a soloist in Corsaire and Bayadere it did not look like her in either one. I think it was Selina as the third Odalisk girl along with Ivanova and Gonchar and possibly Valeria Martynyuk with Gonchar and Konduarova as the 3 shades soloists..........

Nysusan, i was sitting close and with the binoculars, I can assure and confirm ;-) that Odalist girls were Ivanova, Selina & Gonchar; and Shades were Cherprasova, Gonchar & Kondaurova (i.e. look at April 10th casting and here you get the Tuesday casting for those roles).....
... and yes, I was nervous about those falling roses (and then "a feather"(?) from Somova fell in Don Quixote)... Totally ADORED Tereshkina (what an actress!!! she's becoming one of my most favorites). Was pleased that Ms. Acrobat tamed herself. Enjoyed watching Sarafanov and Uliana. I found Ivanchenko too cold and "not interested" in Uliana. Wonderful evening !!!!

[Azulynn]

Natalia, I believe (from reading Russian boards, and only through a rough translation, sadly) several promotions occurred during last month's Mariinsky Festival in Saint-Petersburg. Posters were discussing the promotion of Tereshkina and Ivanchenko to principals, and of several other dancers (including Somova, Obraztsova, Novikova, Shklyakov...) to first soloists. The company's website doesn't seem up to date though.

[FauxPas]

Petipa/Vaganova Program April 10, 2008

Le Corsaire:  The Kirov performed a similar conflation of dances in the video "Kirov Ballet in London" filmed circa 1990 with Asylmuratova.  The main difference was that in 1989 the Jardin Animé finale sequence they included the second ballerina Gulnare danced by Kunakova.  She is supposed to be there as well.  Ayupova was one of the Odalisques.  Last night had only Vishneva as soloist in the Jardin Animé.  Vishneva was having an accident prone night including the bit with the dropped flowers, stumbling on one of the floral arches placed on the floor and doing some overambitious fouettés that nearly spun out control.  She attempted too many doubles and overrotated and came off point at one point, started to travel and had to readjust several times.  She is still totally glamorous and magical to watch.  Korsuntsev is a lovable lunk of a Russian ballet hunk (cute smile) and Korsakov was very soft and fluid as Ali.  Not as virtuosic as Corella or Carlos Acosta at ABT but still impressive.  

Diana and Acteon:  This is much classier with the addition of the female corps of nymphs - it frames the choreography beautifully and gives the whole pas de deux elegance.  Tereshkina is strong, clean dancer with elegant lines and here was radiantly smiling and joyous in her dancing.  Lobukhin who resembles the actor/playwright/female impersonator Charles Busch (in facial features and smile but not in manner!) is a charmingly old-fashioned bravura male dancer.  This is exactly what this piece needs.  His jumps have great elevation and he did several trick leaps.

Don Quixote Pas de Deux:  This is an Alina Somova I can live with and even enjoy.  Gone was the chin and the 180 degree extensions.  In its place was a certain hoydenish charm and girlish exuberance totally in the spirit of the role and ballet.  I thought she had some very impressive pirouettes and her feet are very strong.  Her fouettés were also overambitious with kicking the working leg up above the hip and such and they eventually had to be changed with the foot by the knee.  However, it is always shocking how Somova can do this crazy stuff with weird placement and never falls.  It takes really impressive physical talent and technique to dance that badly!  Imagine if she put all that effort into dancing cleanly and simply with classical form?  She could blow us all away.  I think that tempermentally she is basically a soubrette but this really suits.  I wouldn't even mind seeing her in the complete ballet.  Definitely with Sarafanov who is the only real male virtuoso (along with Kolb and now possibly Lobukhin too) in the company.  Wonderful assemblé turns and pirouettes from him.  I have been spoiled by the ABT men but he was really good.

La Bayadere:  I am very impressed with Yevgeny Ivanchenko who is elegance personified - long lines and aristocratic.  My last encounter with the Shades scene had Somova in her chin to the sky/ankle to the ear mode, so Lopatkina was like a sublime antidote to that memory.  Classical yet spiritual and very centered, she brought some poetry to the stage.  Maybe Ananiashvili and others have danced it more impressively in their day, but Lopatkina is in the great tradition.

Lovely evening.

[Colleen Boresta]

I attended the April 5th matinee (Fokine program)  I haven’t posted on Ballet Talk in ages.  I still read many of the posts, especially of the ballets I’ve attended.  I think there are posters such as Carbo, NYSusan, Michael, and many many more who write much better reviews than I ever could.  What made me post this time was Alistair MacAuley’s
review in Monday’s New York Times.  How did this guy ever get to be the chief ballet critic of the New York Times?  When I read one of his reviews I always think (besides the fact he’s out to be as cutting as possible just for the fun of it) “Did he see the same performance I did?”  The only male MacAuley praised was Danilo Korsuntsev in “Chopiana”.  I agree Korsuntsev was a good partner, but as a soloist I thought he was rather klutzy.  (Forgive my phrasing.  I’m not great with ballet terms.)  He had the heaviest landings I’ve seen since Alexander Godunev.  The women in “Chopiana” were just wonderful, especially the main female dancer.  I think that was Yana Selina, though her name wasn’t listed in the program or the insert.  She was just so ethereal, the perfect romantic sylph (to me anyway).

I was concerned about seeing “La Spectre De La Rose”.  In my mind’s eye I see Herman Cornejo dancing the Rose (and few male dancers can compete with him).  Also I’ve been rather disappointed by the male dancers of both the Kirov and the Bolshoi during the 90’s and 00’s.  So I was very pleasantly surprised by Anton Korsakov’s performance.  He didn’t measure up to Cornejo, (but then who does?) but he was very good – nice leaps and wonderful multiple air turns.  And Selina was again a perfect romantic ballerina. (I think it was Selina.  Anyway it was the same dancer I saw in “Chopiana”.

My biggest complaint about MacAuley’s review was when he wrote about  Ulina Lopatkina’s “Dying Swan”.  Other posters have already described it, but I don’t see how any reviewer could do other than praise this performance to the rafters.  Lopatkina actually became that swan – it was one of the most beautiful dances I have ever seen in my life (and I’ve been attending ballets since 1980).

“Scheherazade” was very enjoyable, even though the intermission before this ballet was about 40 minutes and the overture was like 10 minutes.  Lopatkina was again wonderful, and her Golden Slave, Yevgeny Ivanchenko, danced very well.  But I didn’t see a lot of chemistry between the two leads – I didn’t see a lot of smoldering passion in this “Scheherazade”.

But all in all, it was a great afternoon at the ballet.  If only Anna Kisselgoff could be persuaded to come out of retirement and become the chief dance critic of the New York Times again.  Oh well, I don’t think that’s going to happen.

[naomikage]

Colleen Boresta, on Apr 10 2008, 03:51 AM, said:

What made me post this time was Alistair MacAuley’s
review in Monday’s New York Times.  How did this guy ever get to be the chief ballet critic of the New York Times?  When I read one of his reviews I always think (besides the fact he’s out to be as cutting as possible just for the fun of it) “Did he see the same performance I did?”

“Scheherazade” was very enjoyable, even though the intermission before this ballet was about 40 minutes and the overture was like 10 minutes.  Lopatkina was again wonderful, and her Golden Slave, Yevgeny Ivanchenko, danced very well.  But I didn’t see a lot of chemistry between the two leads – I didn’t see a lot of smoldering passion in this “Scheherazade”.

I totally agree with you.  I came to New York on Thursday and saw 4 performances (one Petipa and 3 Fokine) and was totally overwhelmed by the virtuoso performances here and returned to Tokyo on Sunday. It was a very short trip but very enjoyable.
So I was very, very annoyed by Alistair MacAuley’s review. He should return to UK, I think.

I was feeling a little sad that there were very few posts regarding performances on Saturday so I am very glad that Colleen shared her report to us. As for my limited English ability I don't think I can write a good reveiw, but I would like to share my thoughts.

Danila Korsuntsev in “Chopaniana" was such a treat to watch. His Jean de Brienne was also very elegant. He is such a good partner, ideally proportioned with very long limbs and beautiful lines, and is romantic and handsome. His supporting is so soft yet accurate and the women seemed to float on air. I agree that he is not the virtuoso type, and he is very tall (more than 6' 4") so he might have heavy landings but his elegance was so delightful and one of the gifts I received in New York.

Of course the women in  “Chopaniana" were just wonderful. Before I saw this by Kirov, I thought Les Sylphides was a very dull and boring piece. But “Chopaniana" was a beautiful moment filled with sheer joy.  the corps had the musicality, and Yana Selina's musicality was the best. The music was played very slow, but her arabesque panche was stretched full to the music and created a wonderful atmosphere. The corps did not make any sound with their pointe shoes, and I was taken away to a deep forest.

Yana Selina in Le Spectre de la Rose was also very sweet and delicate, wonderful. Anton Korsakov’s performance was good. He was a very young and fresh rose, good leaps and a romantic atmosphere. His port de bras were excellent. This time I saw Roses by Igor Kolb and Leonid Sarafanov. Kolb often dances this piece in galas and this is nearly a trademark for him.  His Rose is a kind of a dark sexual sprit although his flexible lines are so beautiful and his leaps are amazing. The girl's dream might be a nightmare! (I like Kolb's potrayal very much)
Compared to that, Sarafanov's rose was childish. He is not a short dancer, he is rather tall but very very slim, and although he is a virtuoso dancer with incredible technique, he is not a kind of sprit that appears in girl's sweet dreams.

Lopatkina's Dying Swan is so divine... I have seen several performances of her Swan and each time her expression is different. Her body is an incredible instrument with so much to tell from the subtle movements. A noble creature struggling to live but finally embraces death with so much dignity. Her arms are not eloquent but the slight whillowy movements moves and touches our soul. I cannot help crying each time I see her Swan. Lopatkina was born to dance a Swan, I belive.

And Scheherazade!  I absolutly LOVE this piece and this is the reason why I came all the way from Tokyo to New York. The City Center Stage was cramped but the gorgeous sets, the wonderful music by the Mariinsky orchestra, and the amazing dancers!! I agree with Colleen opinion of didn’t see a lot of chemistry between the two leads on Saturday matinee and although Lopatkina was very sensual and great, and Ivanchenko is a good dancer with mauculine body and great technique, his expression was rather dull.  Kolb's golden slave was very wild and sexy, his dancing was like a flame and many bravura moments, his amazing flexibility and passion was great but Vishneva's Zobeida was rather cool, good technique and very beautiful but the partnership didn't work this time.

What was so amazing was the chemistry between Lopatkina and Kozlov at the soiree. As many of the readers know, Kozlov is Lopatkina's favourite youngster. Although Kozlov is a exteremly handsome young man he was rather out of shape, very tall and large and his lines were not classical. He does not have the Vaganova trained lines, and his leaps were large but heavy.
But, what drama this couple brings to the stage! I could feel the fire like a serpant licking his tongues running all over the stage. Lopatkina was so wild and sensual. It was so difficult to belive that she was the one who performed the serene Dying Swan. She was a bored, beautiful but lonely woman who was set by a fire inside the moment she saw the Golden Slave.  
Kozlov's slave was arrogant, strong and wild, a very bad boy, very sexy. And their passion bursted on the stage, no limits.
The drama on the stage was so hot, Lopatkina's expression was so versatile. She was a sweet, sad babe to the Shar Zehman until she saw the corpse of the Golden Slave and suddenly struck by agony and despair.

Lopatkina and Kozlov can make a drama so hot!

[Mashinka]

Quote

I was very, very annoyed by Alistair MacAuley’s review. He should return to UK, I think.

Oh no, you wanted him and you're stuck with him as Alistair MacAuley is one emigrant I really don't want to see returning.  I seem to remember some 15 pages eulogizing over A.M. on this forum when he first went to the New York Times with mine being just about the only dissenting voice.

so please forgive this Londoner with a very long memory for saying:  I TOLD YOU SO.

[Catherine]

Azulynn, As I am in St. P and have the festival program, I can confirm that the program lists the changes you noted. Whether or not they are official promotions is another question, as often the Kirov lists the dancers in different "ranks" when on tour or in promotional materials (ie programs) than on the (rarely updated) website. Another point to keep in mind: i've been told that internally there are not that many different rankings in terms of pay; so while the booklets list 6 or more different categories (Principal, First Soloist, Second Soloist, Coryphee, Corps de Ballet, Character dancers, and so on), in reality (internally) they don't necessarily consider those divisions.

THis is my way of saying YES the program reflects those changes (Tereshkina as principal for example -- which makes sense given her recent award) but as to whether these are official, yet, I can't say. One would presume so, however.

p.s. Agree 300% re MacAulay!

[Natalia]

Wednesday, April 9, 2008

If the Opening Night last week was great...last night was EXTRAORDINARY.

Corsaire highlights -

Uliana Lopatkina continues her trend of warming up and being adorable (with smiles) and not just regal. It did not matter one iota that she omitted the usual 32 fouettes in the coda of the Pas de 3 last night and substituted quick chaine turns. Igor Kolb was a pantherlike Ali, with an amazing series of pirouettes-a-la-seconde done in "four corners" style (four focal points in succession). Even Ivan Kozlov as Conrad was much improved since his DC Bayaderes in January -- showing that he can do much more than lift Lopatkina...including a great series of creamy pirouettes in his solo. Bravo to the three odalisques, including Svetlana Ivanova (with the yummiest, softest, most pliant feet in the troupe) and Yana Selina (spot-on in an especially brisk rendition of the 2nd solo). Nadezhda Gonchar was also good as Odalisque 3 except that she 'pushed the envelope' a tad when she attempted a triple-pirouette but stumbled at the end of her solo.

Diana & Acteon Pas -

I was expecting the classical marvel and refined grace of Ekaterina Osmolkina's Diana. What bowled me over was the new-and-improved high-flying technique and bravura manners of blonde Mikhail Lobukhin, who used to be a bit of a cipher. Instead, he was the He-Man Hunk of the night, garnering the loudest bravos for ANY other male lead.

Don Quixote Grand Pas -

Viktoria Viktorious! Viktoria Tereshkina:  Her new Principal Ballerina status (just announced on Mariinsky web) most certainly becomes her. Tereshkina delivered not only her usual dazzling technique and refined finishes but lots of aplomb and 'star power.' She displayed incredible balances (Tallchief style), exquisite line in poses and 32 very zippy fouettes peppered with doubles. We're talking Osipova Quality here...zippy-zip with no floppy working leg. Her Basil, Anton Korsakov -- looking streamlined and wonderful -- matched her in technique and refinement, with lighter-than-air leaps in the midst of the adagio, let alone the solo and coda. And the Cherry on Top of the Sundae? None other than the beauty who drb lovingly nicknamed 'Big Red' on this forum: Ekaterina Kondaurova, dancing a spot-on Bridesmaid Variation wearing a Big Red Tutu that matched her Big Red Hair!

Bayadere Shades -

As expected, we saw an impeccable corps of 24 shades, now more used to the small City Center stage. There was a magnificent trio of Solo Shades, including a delightful First Variation by young redhead Elizaveta Cheprasova ("Lil' Red'?), followed by fine dances from Gonchar and Kondaurova. Andrian Fadeev was an elegant and soaring Solor. BUT the highlight of Shades was -- prepare yourselves -- the Nikiya of Alina Somova, who was absolutely BEAUTIFUL in a more-restrained delivery than what we saw one week ago. She has the possibility of becoming a very wonderful legato dancer, with her tappered legs and ribbon-like arms. Yes, we saw hints of the wild legs especially in the initial adagio with Solor and, yes, she still needs to work on emotional connection. That doesn't matter -- we want her to concentrate hard on elegance, to continue the bits of progress that we saw last January at the Kennedy Center. My heart sank last week when I saw the "2004/05 Alina" once again. The apparent hard work since a week ago paid off big-time last night, so I added my voice to the 'bravos' at the end of the show. A huge step forward for Alina Somova.

In sum, a picture-perfect night. Can I survive the two days before my next 'Kirov Fix' on Saturday & Sunday?

p.s. Olesya Novikova -- the originally-scheduled Nikiya of this performance -- is out for the rest of the run. This is very sad news. I wonder who will replace her in Etudes at the upcoming Saturday matinee?

[Azulynn]

Catherine, we're right on time, as the promotions we're talking about have just been made official on the Mariinsky website (although for those below Principal level, still only on the Russian version). Here they are :

Principals :
Viktoria Tereshkina
Evgeny Ivanchenko

First Soloists :
Olesya Novikova
Yevgenia Obraztsova
Alina Somova
Irina Golub
Vladimir Shklyarov
Nikita Scheglov

Second Soloists :
Yulia Bolchakova
Maxim Zyuzin
Anton Pimonov
Alexander Sergeyev

Coryphees :
Ekaterina Ivannikova
Daria Vasnetsova
Anna Lavrinenko
Anastasia Petushkova
Maria Shirinkina
Diana Smirnova
Andrei Ermakov
Alexeï Nedviga
Alexeï Timofeyev
Grigory Popov
Filipp Stepin

I hope I haven't forgotten anyone. Well done to them all anyway !

[canbelto]

Congratulations to Viktoria Tereshkina! Well-deserved.