Jump to content


This site uses cookies. By using this site, you agree to accept cookies, unless you've opted out. (US government web page with instructions to opt out: http://www.usa.gov/optout-instructions.shtml)

Giselle At the Kennedy Center - Feb 2011


  • Please log in to reply
115 replies to this topic

#76 cinnamonswirl

cinnamonswirl

    Bronze Circle

  • Senior Member
  • PipPipPipPip
  • 311 posts

Posted 15 February 2011 - 07:00 AM

Did you catch Lopatkina dancing certain passages too quickly (including the ballottes in Act I)...way, WAY off the beat of the music? It's as if she were trying to signal to the conductor to speed up. I could see a dancer doing that once or even twice, but she did it many times. (And this is Mariinsky conductor, directing the KennCen Opera House Orch!)


I noticed it and found it distracting. I also thought the tempo on Saturday night was even slower and more ponderous than it had been earlier in the week, making Lopatkina's ability to really float and sail through the second act even more impressive.

And while I adore Kondaurova, in all three performances I saw with her, she also had a tendency to finish slightly behind the music, namely the pique attitudes in her first variation.

#77 Natalia

Natalia

    Rubies Circle

  • Foreign Correspondent
  • PipPipPipPipPipPipPip
  • 4,424 posts

Posted 15 February 2011 - 07:40 AM

..... positive opinions have been expressed, among others, by two different Ballet Directors of the Mariinsky (the current one and the previous one), .....


Of course they like her - they gave this dancer her job and have propped her up, despite overwhelmingly negative reviews from MOST critics of MOST appearances in the US and the UK. I don't have the hours required to begin to compile the long list of negative in-print reviews...but I vividly remember one from a NY critic (druing the 2008 City Center tour) who described her look as a praying mantis with stick-thin legs attached to her hips by a pin.

#78 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,470 posts

Posted 15 February 2011 - 08:45 AM

[Admin beanie on]

Please tone down the rhetoric to civil.

[Admin beanie off]

#79 Natalia

Natalia

    Rubies Circle

  • Foreign Correspondent
  • PipPipPipPipPipPipPip
  • 4,424 posts

Posted 15 February 2011 - 08:48 AM

[Admin beanie on]

Please tone down the rhetoric to civil.

[Admin beanie off]



I hear you. "Abomination" is now "dancer"! :) The "praying mantis" bit came from a review by one of the top NYC in-print critics, during the 2008 City Center run, so I won't alter.

#80 Ilya

Ilya

    Senior Member

  • Senior Member
  • PipPipPip
  • 175 posts

Posted 15 February 2011 - 10:37 AM

Of course they like her - they gave this dancer her job and have propped her up, despite overwhelmingly negative reviews from MOST critics of MOST appearances in the US and the UK. I don't have the hours required to begin to compile the long list of negative in-print reviews...but I vividly remember one from a NY critic (druing the 2008 City Center tour) who described her look as a praying mantis with stick-thin legs attached to her hips by a pin.


A more generous view might be that they saw Ms. Somova's talent early on and invested a significant effort in developing it---a strategy which seems to be paying off in the form of more positive reviews of late as well as a major award. The 2008 NY reviews of her Balanchine performance were good, as opposed to the reviews of her performances of the classics. In any case, three years is a very long time in a young dancer's career, and she appears to have made a lot of progress.

By the way---my chiming in in defense of Ms. Somova is not meant to detract anything from the other performances. I watched all the other casts during the DC tour and immensely enjoyed watching all three other principal ballerinas (as well as many other dancers). I'm just a little surprised that Ms. Somova has generated so much ill will. Just trying to bring some balance to the discussion.

#81 bianca

bianca

    Member

  • Member
  • PipPip
  • 26 posts

Posted 15 February 2011 - 11:40 AM

In any case, three years is a very long time in a young dancer's career, and she appears to have made a lot of progress.

She improved a lot and keep improving. Not everyone has to like her style but in this moment refusing her musicality and acting skills is really unfair. I disliked her for a long time and two years ago I would completely agree with most of people here but after seeing her Nikiya and Juliet last year I was stunned. She's not the same Alina with nothing more than hyperextensions and glued smile. I think that some people just have to try watch her with less of ill will.

#82 Liotarded

Liotarded

    Member

  • Member
  • PipPip
  • 10 posts

Posted 15 February 2011 - 12:57 PM

It would have been great to know about this board before I went to the performances last week, what an enthusiastic group.

I went Tuesday night - Diana - Row H, Friday night - Alina - Row G and Saturday night - Ulyana - Row Q. I actually posted my opinion in Alina's thread before I knew about this thread so I won't repeat myself other than just what I thought:

Diana on Tuesday moved me so much with her emotion, she really was the character. Alina on Friday executed wonderfully and overall she was the most mind-blowing. Strangely I thought there was something off about Ulyana Saturday night in Act I but in Act II she was perfection. Now that I read comments posted here about the timing of the music I'm somewhat astonished that as a total newbie I was able to pick up on that.

I'm totally glad I went and feel super lucky to get to see these dancers, this company.

#83 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,470 posts

Posted 15 February 2011 - 05:57 PM

Admin note:

The company forum review threads are for thoughts about performances that BalletAlertniks have seen. For discussing reviews of performances that you haven't seen, please post in the "Writings on Ballet" forum, where posts on the Macaulay review have been moved.

#84 Angelique

Angelique

    Member

  • Inactive Member
  • PipPip
  • 74 posts

Posted 16 February 2011 - 07:20 AM

Haven followed this board for some time, I didn’t dare to write here because of perplexing and persistent ill will toward a certain dancer. Now that equilibrium is more or less restored I dare to express my own views on the last week performances at the Kennedy Center.
Friday night (the 11th ) was truly magical, especially the 2nd act. Always stellar corps de ballet provoked enthusiastic applause as the white clad lines of Willis were moving forward in small sautés. Alina Somova surprised me as I did not consider her to be Romantic material. Exceptionally soft quality of her dancing made her appear truly other worldly. Evgeny Ivanchenko was good, if not a particularly inspiring or aristocratic in the role of Albrecht.
I also have high praises for Tereshkina-Giselle and Shklyarov-Albrecht (matinee of February 12th) who lived and breathed their respective roles. Ekaterina Konaurova was beyond gorgeous as Myrtha, perhaps the best Myrtha I have seen. Valeria Martinyuk and Alexey Timofeev were better of the two casts of Peasant pdd. I believe that Mariinky has refreshed the production with new costumes for the first act, for the stage looked livelier than I remember from their last tour of Giselle. The orchestra was disappointedly uneven and when Tereshkina made a courtesy in the direction of the orchestra pit, there was hardly a sole there, as they promptly dashed out the minute music stopped. On the whole, I give Mariinsky 8.5 out of 10 this tour season and already looking foward towards the company's next year engagement at the Kennedy Center.

#85 POB_fan

POB_fan

    Member

  • Member
  • PipPip
  • 11 posts

Posted 16 February 2011 - 04:59 PM

I was at the Thursday performance, and although I thought that Tereshkina was a lovely Giselle and an ethereal Wili (which would have been enough on its own) it was truly the corps de ballet that blew me away, and that provided a sharp contrast to the renditions I have seen in the last few years from American and Canadian companies. This proved true both in the first act, with Giselle's friends, as well as of course Act II. Perhaps it seems self-evident that a Russian or European company with a state school (and in this case, where most of the corps dancers could probably come up with soloist contracts elsewhere if they wished to do so) would have a better corps de ballet than our American mix of dancers with varied training, but I was beyond stunned and blown away on Thursday - and perhaps the applause that came after the "swimming" makes up somewhat for the lack of repeated curtain calls, since I don't know that I've ever seen an audience applaud like that during corps dancing, although if you're going to, I suppose that is the classic moment. The corps was not at all robotic, and yet the incredible synchronicity with which they moved into B+ after a running entrance was something I had never seen before, not even at the Paris Opera, which I find to have a world class corps.

#86 Elizaveta

Elizaveta

    Member

  • Member
  • PipPip
  • 18 posts

Posted 20 February 2011 - 06:13 PM

I was at the Thursday performance, and although I thought that Tereshkina was a lovely Giselle and an ethereal Wili (which would have been enough on its own) it was truly the corps de ballet that blew me away, and that provided a sharp contrast to the renditions I have seen in the last few years from American and Canadian companies. This proved true both in the first act, with Giselle's friends, as well as of course Act II. Perhaps it seems self-evident that a Russian or European company with a state school (and in this case, where most of the corps dancers could probably come up with soloist contracts elsewhere if they wished to do so) would have a better corps de ballet than our American mix of dancers with varied training, but I was beyond stunned and blown away on Thursday - and perhaps the applause that came after the "swimming" makes up somewhat for the lack of repeated curtain calls, since I don't know that I've ever seen an audience applaud like that during corps dancing, although if you're going to, I suppose that is the classic moment. The corps was not at all robotic, and yet the incredible synchronicity with which they moved into B+ after a running entrance was something I had never seen before, not even at the Paris Opera, which I find to have a world class corps.


I totally agree about the quality of the corps on Thursday! I was simply blown away!
I also, unfortunately, noticed, not just at the Mariinsky performances, but at the past few ballets companies I've seen, the lightning speed at which the orchestra clears out of the pit. Ms. Tereshkina similarly acknowledged the all-but-empty pit in her bows on Thursday. It was embarrassing! Perhaps they don't realize that they aren't hidden from view, especially to the tiers. Or perhaps they're trying to beat the traffic rush? It is strange, because we as the audience are applauding the musicians and the dancers...

#87 cubanmiamiboy

cubanmiamiboy

    Diamonds Circle

  • Senior Member
  • PipPipPipPipPipPipPipPip
  • 5,275 posts

Posted 20 February 2011 - 08:10 PM

Re: Orchestra members.

Perhaps they don't realize that they aren't hidden from view...?


Going a little :off topic: ...One time, while attending a not too memorable contemporary dancing performance with a less memorable score-(won't tell the name of the composer because he seems to be quite popular, but this was one of those works which looks like an uninterrupted, longer version of the pre-performance tuning routine)-I was seated in center orchestra, second row and so had a clear view of the last two lines of musicians from the back of the pit. A couple of them didn't have that much to play at one point, and so they engaged in a lively whispering/muffled laughing interchange. It was very amusing, and they provide me with the right entertainment I needed to get a bit away from the surrounding "music" and "dancing"... :tiphat:

But back to the broken heart doomed girl...

#88 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,470 posts

Posted 20 February 2011 - 09:12 PM

I think the gesture to thank the orchestra can be symbolic as well as real :)

There have been a number of times I've raced to the exit of the parking garage with members of the ballet and opera orchestras ;) They've had a long night of work, where I've had a long night of pleasure. Why should they suffer the Mercer Mess to be polite?

#89 Mashinka

Mashinka

    Platinum Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 1,200 posts

Posted 21 February 2011 - 02:48 AM

Haven followed this board for some time, I didnít dare to write here because of perplexing and persistent ill will toward a certain dancer. Now that equilibrium is more or less restored I dare to express my own views on the last week performances at the Kennedy Center.


Not so much ill-will as truthfulness, but else where on the web it has been a different story as for years there has been a concerted effort by trolls to flood the internet with lavish praise and phoney reviews, the latter quickly removed on the more responsible sites when their provenance became apparent.

#90 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,470 posts

Posted 21 February 2011 - 10:59 AM

Haven followed this board for some time, I didnít dare to write here because of perplexing and persistent ill will toward a certain dancer. Now that equilibrium is more or less restored I dare to express my own views on the last week performances at the Kennedy Center.


Not so much ill-will as truthfulness, but else where on the web it has been a different story as for years there has been a concerted effort by trolls to flood the internet with lavish praise and phoney reviews, the latter quickly removed on the more responsible sites when their provenance became apparent.

One person's "phoney review" is another's heart-felt appreciation. One person's "truth" is another's "self-involved nastiness". That is why we encourage a wide range of views and discussion.

How much credibility is given to posters is based on the way they express their views. Over-the-top says more about the posters than the subject, usually, and we assume that readers with their eyes open are able to make distinctions.


0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):