Osipova and Vasiliev to leave The Bolshoi
Posted 16 November 2011 - 09:48 AM
Posted 16 November 2011 - 10:06 AM
Sarah Lane isn't as marketable as Osipova or Vasiliev, but it is very likely she has or could have other choices than staying at ABT, if she's upset about being bypassed. That could be said of ABT for many decades, and it's the well-known and well-establish double-edged sword for dancers who join the company from ABT II or directly into the corps. It's not a company that is known for its Lifetime Achievement awards.
Posted 16 November 2011 - 10:16 AM
Posted 16 November 2011 - 10:18 AM
Posted 16 November 2011 - 10:49 AM
The only NA companies that the number of performances that would warrant more than three performances a month are the companies who do lots of mixed rep and/or have lots of performances. Only NYCB has a schedule where they dance for months at a time straight: all other major NA companies share a theater with opera, and have six-eight reps a year, with usually between four-twelve performances total.
For full-lengths, some Principal dancers might get one-three performances over two weeks as the lead, and, depending on the dancer, maybe another one or two as a secondary lead or featured dancer. (Aurora and Lilac, Titania and Hippolyta, Giselle or Myrtha and Peasant Pas, Sugar Plum Fairy and Dewdrop, etc.) For that month, or at NYCB, week(s) of full-lenghts, they are lucky to dance three times.
For mixed rep, there are far more opportunities. As an example, in PNB's recent "Love Stories" program of five ballets and excerpts, which ran for seven performances over two weekends, the original casting, before injuries set in and dancers lost their partners, was:
Nakamura: 3x "Divertimento from 'Baiser de la fee'" ('Baiser'), 3x "Romeo et Juliette 'Balcony Pas de deux'" ('R&J')
Foster: 2x "Baiser", 2x "Afternoon of a Faun" ("Faun"), 3x "Bluebird"
Porretta: 3x "Baiser", 2x "Bluebird"
Korbes: 2x "Faun", 2x "R&J"
Bold: 2x "Faun", 2x "Black Swan Pas de deux" ("Black Swan"), 2x Prince Desire ("Aurora's Wedding")
Rausch: 2x "Faun", 1x "R&J", 2x Aurora
Orza: 2x "Faun", 2x Prince Desire (could have been a typo, since his partner got 3), 2x "Gold and Silver" ("Aurora's Wedding")
Postlewaite: 3x "R&J", 3x "Black Swan", 3x "Gold and Silver"
Imler: 3x "Black Swan", 3x "Gold and Silver"
Cruz: 2x "Black Swan", 3x Prince Desire (may have been a typo, since his partner got 2)
Chapman: 3x Aurora
For context, there are 11 Principals at PNB of 41 dancers + two apprentices at the time the program was danced, or about 25% of the company. (There are now 42 dancers + four apprentices, since the official annoucement yesterday that one dancer re-joined the corps after 8 seasons, and two more apprentices were hired.)
Posted 16 November 2011 - 11:01 AM
Even the Mariinsky Ballet has two 'active' theater buildings, as mixed bills requiring smaller casts very often play at the new 'Mariinsky Concert Hall' down the road from the main Mariinsky, even though the Concert Hall has no proscenium. Carmen Suite and Carnaval, for ex, regularly play at the Concert Hall...sometimes on the same nights when larger-scaled ballets are at the main Mariinsky. [For a while, Daria Pavlenko and Irma Nioradze seemed to be the Queens of the Concert Hall but even the more often-used dancers can be seen at the Concert Hall every now and then, including Lopatkina.]
Posted 16 November 2011 - 11:16 AM
It's not even American companies, though. Around the world you'd be pressed to find a company that could give each of their principals much more stage time than that (NYCB excluded because of their specific rep, but they also have a lot of layoff time as well). I understand the frustration that Osipova and Vasiliev feel, but the reality is that it's not just them, it's what most principal dancers deal with in their own companies; this is only magnified by being off and dancing internationally. Look at Cojocaru and Vishneva--both of them reached the top heights in their own companies and then took their careers internationally as well. They now dance considerably less with their home company. It's a trade off. I don't think you can have it both ways and still be fair to others in your home company, who maybe don't receive the same type of outside work.
I don't begrudge them wanting to dance more things, more frequently (who wouldn't?), but it's a reality that today's dancers cannot expect to be everywhere and dance everything in the ballet world, immediately--no matter the star power behind them.
Posted 16 November 2011 - 12:05 PM
Posted 17 November 2011 - 02:14 AM
Posted 17 November 2011 - 03:21 AM
Back to the main topic:
This article from the London newspaper, The Independent, suggests that money & perks were indeed behind O&V's move, in addition to 'artistic freedom.' Read and find out why several of us have called Kekhman the 'Bananaman' for a while:
Now to a related tangent:
The "management take-over" -- for lack of better term -- of the Mikhailovsky by Kekhman and the partners (including Rosneft) seemed to have happened overnight in 2006/07. Does anybody know how the Maly/Mikhailovsky took on the 'commercial' patina, over and above the normal receptions with donors that we see at the Mariinsky or Bolshoi during pre- and post-performance receptions (or Gergiev's infamous long intermissions)?
Posted 17 November 2011 - 05:47 AM
It does, indeed. With a lot of suggestive innuendos and beyond, and really condescending classist remarks about trying to fit in with his betters... I don't feel I know any more fact of the matter after reading that than before but I certainly have a bad taste in my mouth.
(and I agree with Kekhman's comment about artists not being children, I actually thought the same thing)
Posted 17 November 2011 - 06:30 AM
The number of factual errors in the Independent article referred to by Natalia is a little too much even for the British press. For example, here are the first two sentences:
What about Irek Mukhamedov, Nina Ananiashvili, Andris Liepa, Andrei Uvarov who left the Bolshoi without defecting, for various reasons, and to various companies? What about other people (e.g., Rudolf Nureyev and Polina Semionova) who declined offers to join the Bolshoi after graduation?
Here is another gem:
The only recent artistic director I can think of is Mr. Burlaka. It's absolutely stunning that garbage like this would be printed in a major newspaper.
The rest of the article rehashes all the trash from the Russian media that has been said about Mr. Kekhman, with its tinge of antisemitism ("greedy merchant", "banana oligarch", etc). Somehow completely missing both from the Russian press and from the Independent account are any attempts at evaluation of the Mikhailovsky Theater during Kekhman's directorship and immediately preceding it. Didn't the ballet company tour London last year? Didn't it get good reviews in several British newspapers, including the Independent? I wonder if the author of the article is aware of this.
Posted 17 November 2011 - 07:12 AM
Posted 17 November 2011 - 07:15 AM
As Leningrad State Academic Maly Opera Theatre(MALEGOT for short) it was always very experimental in its productions.
So as usual British with their arrogance think they know better.This theatre has always been known to ballet lovers.
These days such greats as Alla Osipenko,Nikita Dolgushin and Zhanna Ayupova coach there.
It has wonderful dancers.Last year Leonid Sarafanov left the Mariinsky and joined Mikhailovsky and his wife the great Olesia Novikov(still not a prima balerina with the Mariinsky) guests there partnering her husband.By the way Sarafanov and Osipova daned quite a lot together either at the Bolshoi or Mariinsky so hopefully that partnership will continue.
What about Irina Perren - Mikhailovsky Prima - what a jem.
Such luminaries as Elena Obraztsova and Farukh Ruzimatov are still involved with the theatre no longer as AD of Opera and Ballet but as Advisors.
It's a wonderful theatre .
Bravo for Osipova and Vasiliev.You go Natasha and Ivan.
Posted 17 November 2011 - 07:55 AM
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