55 replies to this topic

[bianca]

Cygnet, on 05 May 2011 - 11:38 AM, said:

Novikova has danced the role in bits and pieces for appreciation galas before, (such as the Odile pdd for the late Kurgapkina's final gala at the Mariinsky)

Just short off topic correction - it was Moiseyeva's gala. The dancer who did Odile on Kurgapkina's gala was her pupil Tatiana Tkachenko.

[Cygnet]

Quote

Just short off topic correction - it was Moiseyeva's gala. The dancer who did Odile on Kurgapkina's gala was her pupil Tatiana Tkachenko.

Thanks for that Bianca, it was Moiseyeva’s Gala, which took place January 26, 2009 . According to my souvenir program, Novikova and Ivanchenko danced the Odile pdd during Part 1's divertissement.

[sakura]

Angelique, on 06 May 2011 - 07:11 AM, said:

YID, on 06 May 2011 - 06:54 AM, said:

Angelique, on 05 May 2011 - 02:31 PM, said:

Not sure who Genichka is.

It might be a demunitive nick name for Evgenia (full name). Genya/Zhenya, then Genechka, Genichka?

Thank you, YID.  Cygnet took pains to clarify the issue by  replacing references to Genechka with Evgenia.  Obraztsova is undoubtedly the darling of balletomanes (at least a group of them), while Novikova's exquisite beauty and polished technique immensely appeal to regular theatre goers.   She is also well respected and much liked by her peers.   From what I have seen of Olesya's Raymonda,  I am mostly impressed.  O-O,  of course, is another animal altogether.

I also don’t see why Evgenia shouldn’t continue her apparently successful engagement with Stanislavky Theatre in Moscow.  After all,  Mariinsky is not the only professional company in the world,  although, granted, very prestigious. If an artist feels that his or her talent is showcased to better advantage in theatre A,  why should he or she be compelled to perform a certain role in theatre B?  True art is not about prestige after all.

I also don't see why Obraztsova should abandon challenging stereotype casting of O/ O at the Mariinsky.  It is after all her home theatre, and I'm sure it has a very special place in her heart.  True art may not be all about prestige as you say, but it is partly about attaining excellence and the ever elusive perfection.  You've previously opined that the Stanislavsky isn't up to par with even the Mikhailovsky, so are you in essence saying that Obraztsova should feel lucky or be complacent that she gets to dance certain roles only at less worthy theatres such as the Stanislavsky?

The true hallmark of a great artist is an unabiding passion for his or her art, all the while challenging the conventions, limitations or boundaries of that very platform itself.

[Angelique]

sakura, on 06 May 2011 - 03:39 PM, said:

The true hallmark of a great artist is an unabiding passion for his or her art, all the while challenging the conventions, limitations or boundaries of that very platform itself.

This is something I eagerly agree with.  Multi-faceted Alina Somova comes to mind as someone who challenges the boundaries,  but also Makarova and Mezentseva who did it in the past.

As for  Obraztsova I wish her the very best in her pursuit of illusive perfection and on the stage of her choice   She is certainly a vey special dancer,  although with somewhat limited diapason,  my opinion, of course.

[sakura]

Angelique, on 06 May 2011 - 04:49 PM, said:

sakura, on 06 May 2011 - 03:39 PM, said:

The true hallmark of a great artist is an unabiding passion for his or her art, all the while challenging the conventions, limitations or boundaries of that very platform itself.

This is something I eagerly agree with.  Multi-talented Alina Somova comes to mind as someone who challenges the boundaries,  but also Makarova and Mezentseva who did it in the past.

As for  Obraztsova I wish her the very best in her pursuit of illusive perfection and on the stage of her choice   She is certainly a vey special dancer,  although with somewhat limited diapason,  my opinion, of course.

I didn't have Somova in mind when I was thinking of dancers breaking conventions while contributing to the artform.  Actually someone like Sylvie Guillem fit my definition more so than Alina Somova, whom I happen to appreciate and really like in certain roles or milieus.  Also, I fail to see the salience of comparing Somova to Obraztsova in this regard.  To say that Somova is multifaceted while Obraztsova is not, in my opinion, is to overlook some obvious weaknesses on Somova's part.  I don't believe Somova can do fast footwork/ petit allegro in La Sylphide or Ondine as well as more agile ballerinas, for example.  

My point is, no ballerina is perfect.  Obraztsova is not perfect just as Alina Somova is not perfect.  They both have their own strengths and weaknesses, but Somova luckily had an easier path as an artist.  While not taking away her hard work and diligence to improve as an artist, Somova has been given more wide range of roles to experiment with artistically, based in part to having right physique in the eyes of Mariinsky powers that be.  In the same vein, it is Obraztsova who has had a harder time breaking out of molds or challenging conventions imposed by her home theatre.  I, as a former dance student of 15+ years and as a ballet fan, can certainly applaud her ongoing efforts to push herself, the audience, and current Mariinsky dicatates in this direction.

Off topic and not directed at you, but one of my pet peeves if when ballet fans pit their favorites against each other, this is especially horrible on Youtube.  There, demeaning comments about dancers are regularly posted without regard to tact and also feelings of dancers who might read such comments.  I have too much respect for ballet dancers and their dedication to their art AND craft to engage in insults disguised as personal opinions.  I hope to upkeep this practice on this forum.

[Angelique]

sakura, on 06 May 2011 - 03:39 PM, said:

I didn't have Somova in mind when I was thinking of dancers breaking conventions while contributing to the artform

No, it's I who have Somova in mind when thinking about breaking conventions and extending chorographical language and its means of expression.

Leaving Somova and Novikova aside,  Evgenia remains a dancer of limited diapason and not necessarily due to  lack of opportunities or even her height or lack of, if you will.  Her Kitri is reminiscent of her Juliet and Juliet of her Giselle.  No matter what the role,  Obraztsova remains her sweet self,  someone  whom one wants to hug and protect. Plausible quality, granted,  but hardly the one that challenges conventions and breaks boundaries.  I don’t want to see any dancer criticized unnecessarily, but neither am I inclined to see qualities in one where no such qualities are apparent.

As for your off topic mentionings,  one doesn’t need to go to youtube for meaniness.  Just browse  Mariinsky thread here and  you will see that sparing dancers’ feelings has not been its dominant theme by any stretch of imagination.  Quite the contrary,  they don’t pull punches, so to say.

[Lidewij]

Off topic: what does 'diapason' mean?     I can see generally what it means from te context, but an exact explanation would be nice - Google wasn't of much help (ok, literally it means 'tuning fork', but I don't really see how that fits here).   Thank you

[innopac]

Lidewij, on 07 May 2011 - 01:05 PM, said:

Off topic: what does 'diapason' mean?     I can see generally what it means from te context, but an exact explanation would be nice - Google wasn't of much help (ok, literally it means 'tuning fork', but I don't really see how that fits here).   Thank you

I think they mean limited range --

"The entire compass of tones; the entire compass of tones of a voice or an instrument. [1913 Webster]" Link

[Mashinka]

If in some quarters Obraztsova's range is considered limited, might that not be down to the Kirov failing to recognize the true scope of her talent?

Obraztsova is well on the way to achieving the kind of international reputation that is the prerogative of the great ballerina and is now a much sought after addition to gala programmes throughout the world and is one of only two Kirov dancers to have appeared as a guest artist with the Royal Ballet, the other, Osmolkina, also suffers from lack of recognition within her own company; how odd that the two considered to have the ability to seamlessly adapt to an unfamiliar company are two of the least favoured at home.

Obraztsova will be dancing again in London later this weekend, she is very popular here and I can guarantee that many of those in the audience will be there specifically to see her.

Regarding Somova, I think the term mono-faceted would sum her up best.

[Angelique]

innopac, on 07 May 2011 - 01:47 PM, said:

I think they mean limited range --

"The entire compass of tones; the entire compass of tones of a voice or an instrument. [1913 Webster]" Link

Thank you for having clarified the concept for Lidewij. There is one thing I would like to add, though: my opinion is just that - singular form.  I have no business dealings with any ballet company, nor am I in contact with any dancer.

[Helene]

Marc Haegeman has published a lovely photo of Obratzova's Odette on the Facebook Page "For Ballet Lovers Only":

https://www.facebook...&type=1

The full gallery is here:
http://www.for-balle...nlake-2011.html