60 replies to this topic

[Helene]

New Rule:  Only Italians are allowed to design costumes and headpieces for tutu and story ballets.  (Except Mr. Lacroix, who is grandfathered in.)  I couldn't believe how beautiful the costumes were.  I don't like getting dressed up, but I'd even wear the wig if I could have the Queen's costume for Act I, sans the golden capey thing.

PeggyR, on 20 November 2011 - 02:49 PM, said:

Very divided feelings about Zakarova:  a lot to like, but those much-discussed extensions made me cringe.  And there was one jete early on that was awful:  legs flung apart, no actual elevation, no forward movement, no lightness, just a mid-air 180+ split and a clunky landing; “Uh oh,” I thought. But later, I think it was during the vision scene, she did a series of what looked like deliberately low jetes that were everything they should be:  arced and traveling with good ballon.  

That the impossible extensions -- which only showed up in the jumps when I saw her in Berkeley a few years ago as Nikiya, and I was hoping she had hidden in the attic -- were back in full force, and the most frustrating thing is that they are clearly a choice and a bad one.  She has such incredible control, and even when she doing the crazy extensions, everything else is in place.  I don't know how she manages to hold her back so straight while doing the arabesques:  it's as if she's built like a pen knife.  She has all of the gifts and the rest of her performance is purely classical.  She's not making a point with the extensions by stretching everything neoclassically to push the envelope, and she's got the technical control to leave them out.

In Vancouver, although it says "live" everywhere, they show it at 1pm on tape delay.  The good news is that there is a tape, and it works.  Because there weren't many more than 50 at "Esmeralda", I showed up just before the intro, only to find that it was sold out, and the only seats left for ticket holders were in the first two rows.  (I also missed the interview with Hallberg, for which I would have come earlier had I know it would play before the broadcast.)  I'm sure some of this was because of where I was sitting, even though the illusion was being a little above stage level, but I think I spent more time looking under Zakharova's tutu than over it.

What was missing from the Prologue was a Fairy of Modesty.  Modesty was missing from her performance.  She was very glamorous from the beginning, and I don't mean in-your-face glamor, but natural, irrepressible glamour.  That worked well in Act II when she was apart from Prince Desire, but not so effective when he partnered her, because she represented, at best, a desire, rather than an ideal.  In one of the article posted in the last couple of days, Hallberg wondered at how Zakharova took over the rehearsal, and in close-up, it looked like she very much took charge of the dancing in Act III.

There were lots of lovely things in her performance, but, temperamentally, I would rather have seen her in "Raymonda".  (Isn't her coach Ludmila Semenyaka, who was in one of the Bolshoi "Raymonda" DVD's?)

Sometime before 2008 there was an internet stream of "Raymonda" from the Bolshoi, I think a TV broadcast which ran several times, in which I was enthralled with Maria Allash. Since then I'd seen her once before this performance and was disappointed, because she seemed so wooden, and while I was hopeful initially, I thought she was missing the graciousness for the role.  She did have a single expression, as if it she was in pain  and was trying to mask it.

Another vote for the Prince with the feathered crown:  he had great presence and elegance.  The one in the teal or green pants -- from India?  from Arabia? from Persia? -- got a lot of screen time during Zakharova's solo, and he made the most of it.

Dramatically, I think this production is a dud.  In Russian classical ballet, do they use pointing to the floor to indicate death instead of the crossed arms?  Having Carabosse point to the floor at the end of her curse was anti-climatic.  If this was supposed to be a battle between good and evil, as multi-lingual Bolshoi spokesperson Novikova said during the intro -- it's amazing how she keeps going back and forth between French and English -- they might have cut half of Carabosse's unfocused prancing after the curse and given equal time to the Lilac Fairy, whose curse mitigation was easy to miss if you blinked.

There was almost no mime in this production   There was 10 seconds at the beginning when Catalabutte reviews the list and indicates that there's something wrong, but he can't put his finger on it -- a great set-up -- 2x10 seconds of Carabosse getting angry and cursing Aurora, and 10 seconds for the King to threaten to hang the four girls with knitting needles and the Queen to convince him otherwise by putting her head on his shoulder affectionately.  There's not much more than another 30 seconds in the rest of the ballet.  For the life of me I don't understand why directors are wiling to have characters walk around aimlessly to avoid "boring" mime than to have them do the simple gestures that further the story and get on with it.  It doesn't take that long.[/soapbox]

I wanted to slap down Kaptsova's leg the one time she did a big extension, but it was over quickly, and then she danced Florine beautifully and with great charm.  The Fairy Tale figures seemed to be the hybrid of masks with clothes for the men, as if they could be aristocrats dressing up and performing, while the women wore tutus, which only the fairies wore, so it was neither one nor the other.  For example, the Wolf was a man pretending to be a Wolf, not a man in a Wolf suit, and his performance was tempered accordingly.  The Red Riding Hood and White Cat were neither here nor there, dramatically, but they gave it a good shot nonetheless.

Again it may have been because I was seeing a close up, but Anna Leonova's Diamond Fairy looked muscular and hard.  Of the four Act III fairies, I was most impressed with Maria Vinogradova's Gold Fairy; she danced with grace.

The orchestra sounded fantastic at the Scotiabank Theatre in Vancouver.  If the acoustics in the new theater are questionable, they miked it beautifully.

[Helene]

puppytreats, on 20 November 2011 - 07:38 PM, said:

I thought the ballet had two acts, not three. (I was basing this on the written text on the screen.  I thought one act each occurred before and after intermission.)  Based on the above definition, I was talking about the first act.

"Sleeping Beauty" has a Prologue and Three Acts in its original version.  Different companies present it in different ways.  Here are the ones I've seen for which I can find programs and today's Bolshoi:

• NYCB:  In the printed program from 2004 I have for NYCB's version, there are two acts and one intermission:  Act I is "The Christening", "The Spell", "The Vision" .  Act II is "The Awakening" and "The Wedding" (The split is an act later than the others with one intermission.)
  
• Mariinsky (1952 version on tour in Berkeley) and Pacific Northwest Ballet:   Three intermissions
  
• Royal Ballet (2008):  There were two intermissions, between the Prologue and Act I, and the second between Act I and Acts II&III
  
• ABT (2011) and today's Bolshoi performance:  Prologue and Act I, intermission, Act II and Act III

I could have sworn they left out the Act III description from the written version, but it was described by Novikova just before the beginning of Act II.

I liked the way they transitioned between Acts II and III with the courtiers coming in.  I know it's actually a dance, but it also looked like they could have been entering the castle.  With such big music, the audience doesn't have to hear the stagehands banging the scenery around.  I would have preferred if the scene had transitioned before the entrance of the "Fairy Tale" heroes.

[Jayne]

I saw the production on time delay at 1:30pm this afternoon.  I have many thoughts, and will try to boil them down in this review.  Fortunately many of you have already mentioned details, so I can just second your opinions.     Regarding the theater itself, of course the American theaters will have bold architecture appropriate to the New World (same for Sydney, etc).  Yes, the Bolshoi is grand (after all, the word translates into "big" or "grand" in English), but so are the Palais Garnier, the Vienna State Opera House, Teatro La Scala, Czech State Opera House, among so many others.  I think an important part of visiting other countries that value classical art is to visit their theaters!

I arrived after David Hallberg's interview.  I plan to attend a second viewing on Tuesday evening, so I hope to see it then.  I enjoyed the presenter very much.  Behind her, as they practiced and stretched, the cinema audience laughed at the dancers' warm up boots.  It is funny to see them dancing in character and manner, while wearing imitation ugg boots and a hoodie.   I sat next to an extended family speaking Russian, who sadly, did not practice good behavior and chatted throughout the show.  I moved seats...and sat below a young girl who kept kicking my chair.  Fortunately the ballet drew me in, so I didn't mind too much, and switched the seat next to me for peace.  There were about 15 people in total.  There was also an evening show today, perhaps it drew in more people.

Personally I thought the sets were finely detailed and very Italianate French looking.  The French imperial court has been designed so many times that I don't think it's possible to do much new anymore.  But the costumes did take my breath away.  The colors, detail, cut of fabrics, movement to the dance - it was all there.  The designers also clearly are on trend with the British royal family - feathers on practically every head!  In 20 years, the feathers may date the production to 2011.   I didn't mind the wigs at all, more on that later.

In the prologue and christening, the Catalabutte character was humorous but not over the top hammy. I mulled over the effete interpretation and how it is becoming less and less acceptable in the US to play gay for gags.  But it's still ok in ballet.  Certainly it was ok back in Petipa's time.  The opening scene took some time to draw me in, it was a little sluggish, I can see why other productions cut down on this section.  But I thought the use of the gates was very effective.  

I'm neither here nor there as to the male / female role of Carabosse.  As long as it's clearly portrayed, it works for me.  In this case, the role was a complete ham, but I did enjoy the minions.  I want their costumes for next halloween.  And the Lilac Fairy (well all the fairies) danced for ever, but then Lilac changed the curse lickety split, and the kids around me needed parents to explain it.

The camera work was by in large well done, with nearly all shots framing the stage or the dancers' full bodies.  The few times they went to the facial close ups I cringed.  We all still enjoy the illusion, and such close shots harm that illusion.  I only enjoyed the close ups of the acting - and agree the King and Queen were very effective (and subtle).  The character dancing was a lot of fun, and I kept thinking "no one does this like the Russians!"  I really enjoyed the Garland dance and the student dancers.

Once the Rose Adagio began, the energy definitely spiked, and the audience was drawn fully in.  I thought Zhakarova was elegant and light on her feet.  But I didn't think she seemed like a fluttery, exuberant 16 year old.  I didn't enjoy her extreme extensions, but at this point, I don't think she can change them, the muscle habits are too strong.  The balances were very nice, the princes' costumes impressed me for their variety, how close they were to the body, and their detail.  The final balance made me very happy because instead of dipping into a low bow, she held the balance and slowly, in control, floated out of attitude, unsupported.  Another tall girl, Cynthia Gregory, would be proud!  Zveta is something of a beanpole, and I think her arms are too thin.

After pricking her finger, I felt the switch to sleep for the entire court was handled too quickly and not very clear.  All that advance dancing by the fairies, and then they didn't do much when they were supposed to be sprinkling fairy magic sleeping dust.  The 30 minute intermission dragged forever, but at least I got a Starbucks coffee from next door without stress about racing back.  Just my luck, I had 2 people ahead of me, each ordering 4 extra drinks for coworkers at  the mall.

In Act 2, once Hallberg entered, the difference in his line, technique and grace jumped out at you.  I was surprised at the audience fan reaction, it was immediate and enthusiastic.  He is a perfect specimen of a danseur noble in the flesh.  the POB training is very obvious. The only drawback is the lack of subtle acting ability.  But I think this is why he came to Bolshoi - to learn the acting.  I felt his facial expressions did not show a wide spectrum of emotions, though he is acting for the theatre, not for the cinematic camera.  In interviews on youtube, his face lacks a range of expression, perhaps this will be his biggest challenge.  But in height and ability, he was a wonderful match to this Aurora.  I only saw a bit of hesitation on one lift, and a few graspy moments when Sveta balanced on his arm.

The vision scene was beautiful, the corps in their minty green tutus with Busby Berkley hats looked wonderful.  I agree Sveta's acting matched the needs of the ballet here, she does dreamy elegance quite brilliantly.  I would have liked a little more mist to nail down the point that this is a "vision" sequence.  I didn't mind the boat, or the portrayal of the Lilac Fairy.  Honestly her character isn't nearly as defined as the others in SB, so Ms. Allash did what she could with the role, and technically was lovely.  I wasn't thinking of the boat in literal terms as sailing down a French river.  I saw it as a metaphorical vehicle to guide Prince Desire to the castle hidden in vines (except not so much in this production).  

Once the kiss awakens Aurora, I expected more of a "oh, it's *you*, and you're in the *flesh*, and you're wonderful, oh, let's dance and show the audience we're falling in love!" type of expression.  We got some lovely dancing, with elegant, placid expressions from David and Sveta.   Then we have the entertainment, which drags on and on.  The kids in the cinema took a while to figure out who Puss was - she really needed that tail!  Boots needed more dramatic boots on his feet.  They loved Little Red Riding Hood, I had no problem with the wolf, my feeling was Grigorovich wanted that facial expression and portrayal.  He wasn't as nasty as others, or as murderous, this was more for laughs.  Cinderella's prince had a hard time getting her shoe on, the rest of the dance was a little "off".  Florine and Bluebird blew my socks off, and I hope they have bright futures.  I just hated the featured hat on Bluebird.  It was just strange and not very 18th century to me.   The remaining fairies and other entertainment went on far too long.  No wonder other productions curtail this part.

In the wedding pas de deux, Aurora supplants before Desire low on the ground, he takes her hand and raises her all the way up to point in attitude, then takes her for a final 720' walk in balance and the crowd went wild.  Even in my cinema.  That was a great technical feat.  Kudos to Sveta.  I expected more fishdives, but enjoyed the choreography.  I know it is fashionable to rip into Yuri Grigorovich, but overall I think this was a success.  Yes, it's quite long, but I suppose you can look at it like you get your money's worth with all the dancing, and there are many roles for soloists.  It's not just spear carrying and posing.  

As with the reopening, the concertmaster's violin solos were exquisite.  I noticed the orchestra wears black tie, it was not just for the reopening.  I will write a secondary post after I see it again Tuesday night.

[Natalia]

Reposting from Hallberg-at-Bolshoi thread, as most comments on yesterday's Live-in-Cinemas show seem to be here:

I went to this yesterday at the SOLD-OUT AFI Silver Theater in Silver Spring, MD; the lady in front of me in line at the box office, who had not pre-purchased tix ahead of time like most of us, was asked to 'come back tomorrow' for the non-live repeat. The energy in the audience, even at this early hour on a Sunday morning, was palpable.

As for the show, I have mixed feelings...some rather negative.

First, the positives:

- David Hallberg! The perfect Prince Desire - line, technique, graciousness of manner, engagement with partner, etc. Just look at him and understand why princes' roles should go to princely-looking dancers. Harrumph!

- Top female soloists: Chinara Alizade and Anastasia Stashkevich's fairy variations...esp. Alizade, who, for me, was THE standout female dancer of the day, period.
- Good Bluebird pdd by veteran Nina Kaptsova & relative newcomer Artyom Ovcharenko, although I'm sorry that the male solo was the shortened version

- Karim Abdullin, the ultra-handsome 4th Cavalier and, later, Cinderella's Prince Fortune; how this guy is still stuck in the corps after 9-10 yrs is beyond me. [He & Lopatin were the amazing male leads in the Dec 2002 student 'Magic Flute Ballet' that I saw at the old-old Bolshoi when I lived in Moscow....Osipova and Stashkevich were the leading ladies at that memorable 'children's' production.]

- Alexei Koryagin as the Wolf in A3 - the crowd in our theater went gah-gah for his antics...so into character!
- beautiful costumes (despite odd rococco set)
- restoration of the gentler Vision scene solo for Aurora, instead of the 'Fairy Gold' music that Grigorovich used in his 1973 version. This seems to be Grigorovich's main creation for this version...although he was busy handling the many cuts in the music that have occurred between 1973 and 2011.
- mostly nice corps, if lacking softness and 'poetry' of the Mariinsky...and my eye kept going to Olga Smirnova as one of the 'maidens' in the background, audience-right cluster of 4 girls, during the Rose Adagio

- Biggest Positive of All:  That this event happened & people around the globe could 'be at the Bolshoi' without having to fly to Moscow!

The not-so-positives:

- AWFUL MUSICAL CUTS...to be able to fit the stage action into 2 hrs, maximum (+ one 30-min intermission); the '73 Grigorovich version was also done with one intermission...but the cuts were not so prevalent or jarring as in 2011, e.g., all of the prologue music was used in '73 but not here. Worst of all:  The Panorama music lasted for about 8 measures in 2011, if that. Le Style Rapide is hardly 'Le Style Royale'!!!!
- Sub-par Zakharova, mostly...but lovely in the pdd adagio; she came off pointe at one key diagonal in her A1 solo, for example (this was the forward-traveling diagonal on-pointe that precedes the backward-traveling diagonal with the pirouettes). She seemed nervous and rushed; brittle at times.

- Anna Leonova a mediocre (at best) Diamond Fairy; surely the Bolshoi can do better than this? Any one of the other three jewel fairies (left to rt: Tikhomirova, Litvinova, Vinogradova) would have fared better in the key diamond solo.

- Veteran Maria Allash a less-than-magical Lilac (Oh, the lucky people in Moscow who will see Olga Smirnova in this role in a couple of days!)
- SCENIC DESIGN: horrendous one-rococco-set-fits-all for the entire ballet...Frigerio should have changed his motif after designing the POB version; the 'modified Bolshoi edition' featured a garish painted floor, which remains in all acts + a darkish gated backdrop for the smaller scenes. As there was virtually no Panorama music, there was no need for a 'Panorama' (as the 1973 earlier Grigorovich-Virsaladze version had).

All in all, a delightful experience, despite the negatives. I look forward to the next Bolshoi live-in-cinemas screening - Dec 18th Nutcracker starring our lovely Bluebird couple - Nina Kaptsova and Artyom Ovcharenko!

If Bel-Air Media issues this on DVD, I will buy a copy, if anything, to capture the magnificence of Hallberg. It would be far from the favorite Beauty DVD in my collection, though. IMO, nothing beats the languid elegance of the Vikharev reconstruction of Petipa's 1890 original, at the Mariinsky - the TRUE 'style royale'!; alas, that one is not fully available on commercial DVD and probably never will be.

[cubanmiamiboy]

The negatives:

Zakharova's first Act tutu.  Hers was a full blown crotch exposure situation.  Her tutu was too short, too high on the waist, so her undies were fully exposed.  That plus her over the top extensions, well, do the math.  During the Rose Adagio every time she passed a suitor in the diagonal of arabesque penchees , the one left behind had her butt right on his nose.

The Lilac Fairy should have been renamed "The Grey Fairy".  Completely flavorless, as if she didn't wanted to be there.

The absence of mime.  Did Lilac's counter-spelling ever ocurred..? If so, I missed it.

The Panorama and scenery changes during the boat trip.  The Bolshoi just opened with some state of the arts machinery, right...? Why then such a poor scene here...? No moving backdrops-(that  was aware off)-thru forests or anything.  The musical cuts here were a crime.

The White Cat was nowhere to be found.  At one point I even assumed that this was another dancer thrown at the very last second to substitute the chosen one, and then there was no time for the cat makeup and tail.  Only her male companion was dressed as a cat.  She was just another dancer in a gray tutu with a boat-shaped hat I think.

The final tableaux-(actually all of them)-was-(were)- quickly cut down with descending curtains right at the second Lilac was in her lifted position.

The unchanging flooring design.  The forests never really became forests.

The awakening scene.  Too confusing with all this people around.  Too busy-(and this is a very quick scene, musically speaking, so that should be addressed in the choice of choreography for the fast seconds.

Zakharova never never announced she was to become Queen with the signature gestures of arms in couronne during the Rose Adagio.  I can understand she's probably not that strong in balances and didn't have the luxury of time to do so, but the miss was too evident.

The Procession of characters at the marriage act.  Totally ineffective.  The background was dark, Aurora and Desire were nowhere to be found, and the whole thing happened in a blur.  Actually the scene didn't even happened INSIDE the castle.

The positive

That the Bolshoi  opened and Sleeping Beauty keeps to be staged, danced, admired and criticized by the world, hence alive, strong and well.  Again, Petipa lives!

[Natalia]

When the Bolshoi brought its Corsaire to the Kennedy Center ca 2009, then-AD Yuri Burlaka mentioned, during his 'backstage chat' event, that his future plans included the reconstruction of the original ca-1899 Bolshoi version of Sleeping Beauty (Gorsky-after-Petipa), for the reopening of the new Bolshoi Theater. Somewhere between 2009 and today, Beauty was taken out of Burlaka's hands and given to Grigorovich. I sigh to think of what might have been, had Burlaka been allowed to carry-on with his plans.

YID and (I think) nysusan also attended that chat. I remember how thrilled YID and I were at the prospect of this Tsarist-era production being revived...then we got 'Grigorovich Rehashed and Cut' instead.

My Golden Apple of 2011 Award for most perfect production of a Tsarist Era ballet goes to La Scala for Raymonda. This Bolshoi Beauty Lite 'rehash' doesn't come anywhere close to that.

[Birdsall]

Natalia, on 21 November 2011 - 04:01 AM, said:

Reposting from Hallberg-at-Bolshoi thread, as most comments on yesterday's Live-in-Cinemas show seem to be here:

- SCENIC DESIGN: horrendous one-rococco-set-fits-all for the entire ballet...Frigerio should have changed his motif after designing the POB version; the 'modified Bolshoi edition' featured a garish painted floor, which remains in all acts + a darkish gated backdrop for the smaller scenes

All in all, a delightful experience, despite the negatives. I look forward to the next Bolshoi live-in-cinemas screening - Dec 18th Nutcracker starring our lovely Bluebird couple - Nina Kaptsova and Artyom Ovcharenko!

I agree about the sets, or should I say "set," b/c it was basically the same set throughout. A disappointment. First time the Lilac Fairy's boat did not work for me, b/c it felt like it was just gliding on land right in front of Aurora's palace which didn't make sense!

You are so lucky to see the Bolshoi's Nutcracker coming up. For some reason the only place that is playing in Florida is Key West, and I don't want to drive down there!!! I looked at the pics on the Ballet in Cinema site, and the Bolshoi Nutcracker looks totally different from the Nutcrackers in the U.S. or at the Royal Ballet in London!

[cubanmiamiboy]

Bart Birdsall, on 21 November 2011 - 05:54 AM, said:

I looked at the pics on the Ballet in Cinema site, and the Bolshoi Nutcracker looks totally different from the Nutcrackers in the U.S. or at the Royal Ballet in London!

But let's be carefull.  This could be Gigorovitch's infamous production with all that bizarre candelabra business during the Grand Pas de deux and the praying-like poses.  If so, I won't even try to see it.

[Natalia]

It is the Candelabra Nut, cubanmiamiboy. And did you notice the darn candelabri in this Sleeping Beauty? They were there during the Cinderella episode of A3. Yuri continues to peddle his tall poles, even in this new Beauty. Oh...and the six Lilac Fairy Guys in the Prologue held-up tall potes with clusters of lilacs at the end!

I cannot stand the Bolshoi Candelabra Nut but will go to check-out the dancers.

[cubanmiamiboy]

Natalia, on 21 November 2011 - 06:14 AM, said:

It is the Candelabra Nut, cubanmiamiboy. And did you notice the darn candelabri in this Sleeping Beauty? They were there during the Cinderella episode of A3. Yuri continues to peddle his candelabri on tall poles!

I cannot stand the Bolshoi Candelabra Nut but will go to check-out the dancers.

That's true, Natasha...! The darn candelabri was there...right during Cinderella/Fortune's sequence..!!

[Birdsall]

cubanmiamiboy, on 21 November 2011 - 06:11 AM, said:

Bart Birdsall, on 21 November 2011 - 05:54 AM, said:

I looked at the pics on the Ballet in Cinema site, and the Bolshoi Nutcracker looks totally different from the Nutcrackers in the U.S. or at the Royal Ballet in London!

But let's be carefull.  This could be Gigorovitch's infamous production with all that bizarre candelabra business during the Grand Pas de deux and the praying-like poses.  If so, I won't even try to see it.

It is what you mention after going back and looking! No wonder it looks so different (photos) than the traditional Nutcrackers I have seen. It lists different characters also like he-devils and she-devils or Chinese dolls, etc. Is the dancing totally different from regular Nutcrackers also, or is it just the production that is odd?

[puppytreats]

Bolshoi in cinema is worth it just to experience Natalia's excitement vicariously.

I am confused by comments praising the connection between Desire and Aurora. I felt no emotion between these two dancers, almost like Svetlana was dancing separately and was allowing whomever was chosen to spin her and lift her.  David was noble but very deferential; I never felt passion or love.  This did not seem like a true partnership.

I loved the costumes, but hated the wigs.  David looked like George Washington.  It was jarring.

Is "Esmeralda" next or "Nutcracker"?

[cubanmiamiboy]

Bart Birdsall, on 21 November 2011 - 06:27 AM, said:

cubanmiamiboy, on 21 November 2011 - 06:11 AM, said:

Bart Birdsall, on 21 November 2011 - 05:54 AM, said:

I looked at the pics on the Ballet in Cinema site, and the Bolshoi Nutcracker looks totally different from the Nutcrackers in the U.S. or at the Royal Ballet in London!

But let's be carefull.  This could be Gigorovitch's infamous production with all that bizarre candelabra business during the Grand Pas de deux and the praying-like poses.  If so, I won't even try to see it.

It is what you mention after going back and looking! No wonder it looks so different (photos) than the traditional Nutcrackers I have seen. It lists different characters also like he-devils and she-devils or Chinese dolls, etc. Is the dancing totally different from regular Nutcrackers also, or is it just the production that is odd?

Bart...let's move this to a more appropriate place within the Nutcracker threads.  We can luxuriate in the topc, which also fascinates me...
Let's go here

[Natalia]

LOL, puppytreats!  Esmeralda happened in early October. It's the Nutcracker that's next (among the live Bolshoi events programed for the current season).

I'm with you on the non-emotion between the two Sleeping Beauty leads...but, to me, it was not because he didn't try. One could tell that David Hallberg was trying so hard to get Zakharova to 'connect.' To me, it felt like Fokine's ballet Cleopatre (Une Nuit en Egypt), where the eager young lad will try anything to get Cleopatra's attention..but she continues to arrogantly lounge on her sedan.

[cubanmiamiboy]

My companions at the screening comented on Hallberg's honest demeanor and sweet manners while interviewed.  He had high prasing words to talk about Zakharova with Novikova,  and yes...one could tell he was just doing everythng he could to get her attention.  In realty, it was obvious to everyone that he actually danced better than her, and this was not a case of a show stealing scenario, BTW.  Maybe the pairing of her with Tsikaridaze could have looked more balanced...? (due to the diva issue on both sides...? )