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Mariinsky New Year's Eve Performance onlineLa Bayadere Act 3, Paquita Grand Pas


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#1 nysusan

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Posted 02 January 2010 - 07:14 AM

This is FABULOUS! There was a live performance on Opus Arte TV which is archived here:

http://liveweb.arte....allet_imperial/

Tereshkina and Sarafanov lead the Shades scene from Bayadere with Selina and Vasnetsova in the 2nd and 3rd Shades variations. I am not familiar with the petite blond who danced the 1st shade, can anyone enlighten me?

Paquita was also terrific, with Somova and Korsuntsev in the leads. This was one of Somova's better efforts - she still leads a bit with the chin but her dancing here is much more controlled than usual with few of her trademark over extentions. For my taste there is still too much of a disconnect between her upper and lower body movement but this performance is a big improvement so there's reason to hope. Selina, Gonchar and Alexei Timofeyev were sparkling in the pas de trois and the performance of the night was Kondaurova in the 2nd variation - she was just gorgeous. The solo variations, in order, were danced by: Martynyuk, Kondaurova, Selina, Matvienko & Somova.

Enjoy!

#2 Azulynn

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Posted 02 January 2010 - 07:21 AM

The 1st Shade (petite blonde) was Elizaveta Cheprasova!

And I'm still mourning the absence of Lopatkina from this future DVD, I must say, no matter how improved Somova is...

#3 Helene

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Posted 02 January 2010 - 11:17 AM

Many thanks for the link, nysusan!

I was mesmerized by the corp dancer who led the Shades: in the close-ups, she goes straight into the arabesque without doing the (however slight) balance check in tendu back. That scene will be worth the price of the DVD.

The size and amplitude of Tereshkina's dancing was very "Symphony in C". I wonder what Balanchine would have made for her. While in total the number of over-extensions in both her and Somova's performances were about equal (just a couple each) as dancers they are like night and day, with all of the pluses on Tereshkina's side: stature, beautifully turned-out thighs, strength through the middle, complete, integrated physical performance from fingertips to toes, musicality, and technique.

Somova continues to dance like an eager competition dancer and an ingenue. Take away the head-hitting extensions, and her weaknesses show even move: her middle is collapsed, her turnout is weak, her feet are a muddle, and her extensions are foot kicks. The only time in this performance in which for me she had phrasing that looked internally motivated was during the harp runs in her solo, in which she was delicate and charming. I continue to think she is a miscast lyric soloist. The only Ballerina on the stage in "Paquita" was Kondaurova. I suppose if Peter Martins could insist for two decades that Yvonne Borree is one, then Gergiev can market Somova as anything he wants.

#4 Giannina

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Posted 02 January 2010 - 01:41 PM

I was going to take down my Christmas tree today but got side tracked by this wonderful ballet performance. I don't much care who was good or bad (well, yes I do) but it was such a lovely interlude. Thanks, nysan. And Happy New Year to all.

Incidentally I thought the corps looked ragged. (Dodging arrows!)

Giannina

#5 Helene

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Posted 02 January 2010 - 02:06 PM

I don't think I'm going to get away from my computer today -- I just finished watching "La Bayadere" for the third time. I can't keep my eyes off of Tereshkina. And I love the history lesson between the ballets.

Another highlight was Cheprasova. From her first entrance dancing with the other shades, her phrasing was excellent. If I were casting Bournonville, I'd choose her from watching how she linked the phrases together, never stopping at the bar lines. I wish the camera angle hadn't shot her from the front on the hops on point that ended her variation: it was impossible to see how much she moved or how she held her arabesque leg.

Now to start it for the fourth time.

#6 volcanohunter

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Posted 02 January 2010 - 02:25 PM

That scene will be worth the price of the DVD.

If it's going to be a Bel Air DVD, that price will likely be quite steep.

#7 Helene

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Posted 02 January 2010 - 02:28 PM

I'll start saving my shekels now :P

#8 Helene

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Posted 04 January 2010 - 09:46 PM

I love the compliments in the comments:

"Grandiose!"
"c'etait merveilleux"
"Fabuleux."
"magique!"
"magnifique!fabuleux!splendide!feerique!!!!!.....................etc......................................."
"merveilleux"
"Très beau spectacle"

#9 Joseph

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Posted 05 January 2010 - 03:59 AM

Anyone know when this DVD is scheduled to be released?

#10 Cygnet

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Posted 05 January 2010 - 10:18 AM

Happy 2010 to everyone :D ! Thanks so much NYSusan for the link!

Incidentally I thought the corps looked ragged. (Dodging arrows!)

There's no need to 'dodge arrows' Giannina :) , I agree with you. I'm not one to make excuses, but if there are plausible "explanations" why they looked "ragged" here's some. This is the first time in almost a year (?) yes - a year, since the corps has come back to Bayadere Act 3. There was a substantial upheaval in the corps last year, lots of dismissals and departures, and new graduates were hired, so they're not quite "one" yet. IMO "B" 3 shows the unity, technical and artistic level of this corps, much more than "Swan Lake," because it's ten times more exposed than "Lake." Secondly, they had just returned to Petersburg after a long tour to Japan, and immediately after that tour, their annual Christmas engagement in Baden-Baden, Germany. The corps just came off of dancing several "Beautys" "Lakes" and "Nutcrackers." To switch within 72 hrs. from these to two "Bayadere Act 3s" cold turkey is not easy - fatigue and jet lag, etc. Third, we'd like to presume that Fateev and assoc. rehearsed the corps effectively (as in months :huh: ) leading up to these two performances. Of course, none of these plausible explanations are excuses.

Helene wrote:

I was mesmerized by the corp dancer who led the Shades: in the close-ups, she goes straight into the arabesque without doing the (however slight) balance check in tendu back. That scene will be worth the price of the DVD.

The size and amplitude of Tereshkina's dancing was very "Symphony in C". I wonder what Balanchine would have made for her. While in total the number of over-extensions in both her and Somova's performances were about equal (just a couple each) as dancers they are like night and day, with all of the pluses on Tereshkina's side: stature, beautifully turned-out thighs, strength through the middle, complete, integrated physical performance from fingertips to toes, musicality, and technique.

Somova continues to dance like an eager competition dancer and an ingenue. Take away the head-hitting extensions, and her weaknesses show even move: her middle is collapsed, her turnout is weak, her feet are a muddle, and her extensions are foot kicks. The only time in this performance in which for me she had phrasing that looked internally motivated was during the harp runs in her solo, in which she was delicate and charming. I continue to think she is a miscast lyric soloist. The only Ballerina on the stage in "Paquita" was Kondaurova. I suppose if Peter Martins could insist for two decades that Yvonne Borree is one, then Gergiev can market Somova as anything he wants.

Helene, I agree with everything that you've posted except for Maestro Gergiev: It isn't Gergiev, (although he signed-off on the ballet director's recommendation in Fall 2008). He doesn't care about ballet, or the personnel decisions of the ballet's management. It's the ballet director and his chief stage manager who "markets" her by giving her preferred casting at home and abroad. Here's some trivia: In 2003 Somova lead "Paquita" for her graduation performance. She was then, as she is now. The facts that she hasn't progressed for (now) 7 seasons, functions in a hit and miss inconsistent trajectory, and has been elevated to Principal Dancer and a 2010 Golden Mask "Best Female in Ballet" nomination, speaks volumes about the ballet management's personal taste and priorities.

#11 nysusan

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Posted 05 January 2010 - 01:11 PM

I'm glad everyone is enjoying this, I keep watching it over and over. The corps may not be up to their usual standard, but they are still something to behold!

Cygnet, perhaps you or our other Mariinsky watchers can tell us the name of the dancer who led the Shades in this performance. She looks so familiar but I don't know her name. Looking at the photos on the Mariinsky website it could be Anna Lavrinenko but its hard to tell for sure.

This has really whet my appetite for their DC run of Sleeping Beauties coming up next month!

Thanks & Happy 2010 to all,
Susan

#12 Helene

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Posted 05 January 2010 - 05:29 PM

Helene, I agree with everything that you've posted except for Maestro Gergiev: It isn't Gergiev, (although he signed-off on the ballet director's recommendation in Fall 2008). He doesn't care about ballet, or the personnel decisions of the ballet's management. It's the ballet director and his chief stage manager who "markets" her by giving her preferred casting at home and abroad.

I mistook his shilling during the "Ballerina" documentary as influence. :)

I'm glad everyone is enjoying this, I keep watching it over and over.

I can't stay away from "La Bayadere". New poster California wondered how long the videos stays up. I'm hoping that the current links that go back to October is a good sign for the future, and that the broadcast will be available for a while. The only downside is that I can't get Minkus' music out of my head :D

The more I watch Tereshkina, the more I realize that she reminds me of Kyra Nichols. Nichols doesn't have the Vaganova schooling, but I remember reading an article about her in the defunct "Ballet News"; I think the same article which described her preparing to take Violette Verdy's role in "Liebeslieder Walzer". She was trained by her mother, Sally Streets, and she said while she had to gain extension, she was taught placement. It's in that placement that she most resembles Nichols to me.

Joseph Duell was interviewed for the "Liebeslieder" article, and the interviewer must have asked if she was basing her interpretation on Verdy's iconic one -- and it was a hugely important revival at the time -- and his response was the equivalent of "She will make this individual; she doesn't follow". Verdy had many rare qualities, but the one that would have been most incongruent for Nichols was her facial expression. There are very few dancers who can light up a stage the way Verdy could, with her entire face. It can't be taught. Darci Kistler has always had this quality, and Somova does too, until her eyes go blank. I :huh: and {> Tereshkina, but forget about cracking a smile: I don't think she cracked an expression in The Shades act.

#13 carbro

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Posted 05 January 2010 - 08:27 PM

I :bow: and {> Tereshkina, but forget about cracking a smile: I don't think she cracked an expression in The Shades act.

I've never seen a Kirov ballerina with anything other than either a blank or a severe face in Shades. Have you? Not even a suggestion of tenderness. Nikiya's ghost is very different from Giselle's.

#14 Helene

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Posted 05 January 2010 - 08:29 PM

I :bow: and {> Tereshkina, but forget about cracking a smile: I don't think she cracked an expression in The Shades act.

I've never seen a Kirov ballerina with anything other than either a blank or a severe face in Shades. Have you? Not even a suggestion of tenderness. Nikiya's ghost is very different from Giselle's.

I've seen a few different shades of severe :)

It was impressive how she kept the same expression through the entire performance, including curtain calls.

#15 Cygnet

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Posted 06 January 2010 - 09:03 AM

Cygnet, perhaps you or our other Mariinsky watchers can tell us the name of the dancer who led the Shades in this performance. She looks so familiar but I don't know her name. Looking at the photos on the Mariinsky website it could be Anna Lavrinenko but its hard to tell for sure.

Hi nysusan :(. The first shade out is Anna Lavrinenko, the second behind her is Ksenia Ostreikovskaya. The first shade in the pdt (the blonde), is Elizaveta (Liz) Cheprasova. 2009 graduate, Margarita Frolova is also there but you can only see her during the bows. She's four rows from the left, the 3rd girl back. She made a big impression last June.

Helene wrote:

I mistook his shilling during the "Ballerina" documentary as influence. :)

The ones who really shilled for Alinashka on that dvd were Vaziev and her coach (his wife), Olga Chenchikova. They spent more time promoting her in that film than the other four artists combined :bow:!


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