68 replies to this topic

[Natalia]

OK, I just saw this amazing review of the Ratmansky Cinderella/Edinburgh in the links but couldn't help but re-post it in this thread, as this insightful critic (Mr. Dowler of the Financial Times) has totally captured my 10 years of feelings about this work in a few simple sentences.

Link: http://www.ft.com/cm...l#ixzz25PVEWbp6

Quote #1:

Ratmansky has eschewed beauty of movement for caricature, the rarefied for the vernacular, and rides roughshod over the rhythms and pulses of this extraordinary score.


And here is the clincher, Quote #2:

The setting too is bargain-basement: West Side Story fire escapes and a few uncomfortable chairs for home...

'Nuff said.

[Helene]

There were plenty of complaints when Balanchine produced ballets in leotards.

"Agon" or pretty sets?  "Concerto Barocco" or pretty sets?  "Four Temperaments" in leotards or the Seligman monstrosities that make nice photos?

"Cinderella" is not a pretty story, and the score is pretty tough.

Having seen a handful of Ratmansky's ballets, including one dud ("Anna Karenina"), I'll give him a chance no matter what he does.

[Natalia]

Alas, I've seen mostly duds, Helene. There's a fine line between comedy and mockery; to me, he crosses it time after time. Humpbacked Horse, for example,was horrendous for those who adore and yearn for the Tsarist-Era Petipa/Ivanov/Gorky edition to make its way back to St. Petersburg. [LHH was *the* favorite single ballet of Tsar Nicholas II. Never to be enjoyed again, except in excerpts in dance-academy galas? Thank you, Ratmansky.]

That said, I very much enjoy his one-act non-narrative works, especially Bizet Variations for Nina Analiashvili's troupe. Concerto DSCH and Russian Seasons are also lovely, IMO.

[Natalia]

As just posted on the 'general' 2012 USA tour thread, the Kennedy Center has revealed new Cinderella casting. Daria Pavlenko will dance in place of the indisposed Somova. All other casting remains the same.

[Natalia]

As YID posted on another thread, the casting has been shuffled again, e.g., Pavlenko's Sat night performance moved to Sat matinee. Pavlenko also dances Thurs night, as per the Sept 12 changes.

The new (Oct '12) issue of The Washingtonian contains a small but lovely feature article on new Mariinsky company member, Keenan Kampa, with very nice photo in a tutu, modeling some colorful belts. Titled 'A Cinderella Story,' the article is mentioned in the online table of contents (see 'Capital Comment' section) but, alas, doesn't seem to be available online yet:
http://www.washingto...-breakfasts.php

Ms Kampa is also the subject of a nice long interview with author Jenifer Sarver, in the Oct '12 issue of Dance Europe. This one can be purchased online, for reading on the computer. Link to the contents:
http://www.danceeuro...ontents/166.pdf

Among the quotable quotes (pp. 53 - 55):

Q: Isn't it usual to begin in the corps de ballet?
A: Yes, everyone I graduated with started in the corps. When I left school, my teacher really wanted me to go to a different company, in the States, so I would get to dance more and not have to go through the period in the corps. When I came back to St. Petersburg, they told me I'd get to do duets, trios, quartets...I'd been in the corps at Boston for two years, so I think they knew I'd done that...I think if they were going to hire a foreigner, it had to be for a bit more..."

A wise career decision. [She's doing much more than duets and trios, as she'll debut as Myrtha in Giselle, as well as Dryad Queen in DQ, one month from now, on consecutive nights. In the article, she also mentions "working on" roles in Carmen, Raymonda, Spartacus and Sylphide.] Congratulations to Keenan Kampa! I'm looking forward to reports on her progress by YID and others who'll be in DC & Calif at the time. This makes the upcoming USA tour all the more thrilling.

[Natalia]

I see that Daria Pavlenko has received a new assignment back home: Zarema in Fountains of Bakhshiserai on the night of Sunday, Oct 14 (one of her best roles). Hopefully she'll be hopping on a super-fast jet the following morn to make it to DC on time for company rehearsals of Cinderella, which are on Mon/Tues. At least her first Cinderella performance won't be 'til Thursday, so she'll have a little time to rest.
http://www.mariinsky...2/10/14/1_1130/

[YID]

I wish we'd see this in DC - Vishneva & Kondaurova in Giselle - Oct 21st, sund. That explains why Kondaurova cuts DC Cinderella short http://www.mariinsky...2/10/21/1_1900/

[Natalia]

YID, on 27 September 2012 - 10:45 AM, said:

I wish we'd see this in DC - Vishneva & Kondaurova in Giselle - Oct 21st, sund. That explains why Kondaurova cuts DC Cinderella short http://www.mariinsky...2/10/21/1_1900/

Thanks. I feel the same way about Osmolkina's Juliet on Oct 10, which explains why she will not be in California, available for Swan Lake:
http://www.mariinsky...2/10/10/1_1900/

I also see why DC will not be getting Skorik/Askerov, as they will dance the leads in Giselle on the 17th:
http://www.mariinsky...2/10/17/1_1900/

I'm not sure why Shklyarov is dancing only the opening of Cinderella. He may be guest-starring elsewhere after the opener & unavailable to partner Shirinkina in her 2nd appearance (affording the big opportunity for Zyuzin). Edited to add: Oops - I see that both are dancing in the 'Stars of the 21st C. Gala' in NYC on the 18th.

[bianca]

Natalia, on 27 September 2012 - 08:46 AM, said:

[She's doing much more than duets and trios, as she'll debut as Myrtha in Giselle, as well as Dryad Queen in DQ, one month from now, on consecutive nights. In the article, she also mentions "working on" roles in Carmen, Raymonda, Spartacus and Sylphide.]

The role in Raymonda she's been working on was probably only grand pas. I noticed her in Olesia's Raymonda, unfortunately quality of movement make her easy to recognise. I say "unfortunately" because it was rather low quality comparing to the rest.

[kbarber]

The Kennedy Center is offering 20% off on orchestra seats for October 16 and 17. Info here.

[Natalia]

My husband, Vadim, who is in DC, went to the three casts during the week. He was absolutely gushing with joy late last night after  the Thursday (18 October) show with Pavlenko and
Sergeev. "Pavlenko is back and Odette-fit!" Hubby says that Sergeev drew gasps from audience for his enormous leaps and high clear entrechats, as well as sinewy moves, great partnering and (obviously) charisma with his lovely wife, Pavlenko. Best casting by far, he said. He also pointed out a little-known corps dancer, Margarita Frolova, for her expressiveness and beautiful dancing as the skinny stepsister, as well as Maxim Zyuzin as Fairy Autumn.

I am green with envy and upset to be in South American Siberia now.... ...but elated about Pavlenko and Sergeev.  

[nysusan]

So far I've seen 2 performances of Cinderella this weekend, Pavlenko/Sergeev and Shirinkina/Zyuzin. I've never actually seen a production of Cinderella that I love, and for me this one is no worse than any other. I think it's actually better than many, especially with trancsendant performances by great dancers who are also great actors (Pavlenko/Sergeev).

It is not pretty -the costumes & scenery are bare bones - grimey in the first act, understated in the ball scene and inexplicable (costumes for the 4 seasons & the male & female groups in the Prince's "seeking" scene), but then this is a very contemporary & adult Cinderella, hardly a fairy tale. In fact I think that's why I like it. One of my big problems with Cinders is that the music is so darkly sardonic, it doesn't really suit the story (except perhaps in the first scene) and it doesn't offer many opportunities for great pas de deux. Ratmansky's choreography really suited the music perfectly and he has given Cinders & the prince an absolutely lovely pas de deux in the 2nd act.

My takeaway - this is a fine and interesting ballet to see once or twice as long as you don't go into it expecting to see some lavish fairy tale production, but its not something I'd want to see over and over.

Shirinkina was a lovely Cinderella, she played it very young and innocent and her lyrical style suited the role perfectly. Maxim Zyuzin is an interesting dancer who I'd like to see more of in the future. He has a very engaging stage personality and all the right moves

Pavlenko/Sergeev - they were breathtaking. I don't think that he is exceptionally tall, but he has the long, lean lines of a danseur noble, great elevation and easy turns. Pavlenko, well, first off let me say that I agree with Natalia's husband - SHE'S BACK! Down to fighting weight with pristine technique hers was Cinderella as everywoman - warm, kind, a triumph of the human soul. Her dancing was technically strong and extremely expressive - those arms can speak volumes, not to mention those eyes. Not surprisingly, she and her husband had great chemistry. From the moment he saw her Sergeev's prince was besotted and you knew he'd do anything to find her.

[Birdsall]

nysusan, on 21 October 2012 - 07:29 AM, said:

  
My takeaway - this is a fine and interesting ballet to see once or twice as long as you don't go into it expecting to see some lavish fairy tale production, but its not something I'd want to see over and over.   

I agree with what you say. It has some nice moments, but some purposely "ugly" moments that are interesting the first time but get old real fast. I am thinking of the step sisters and step mother. Yes, it is funny and sort of fun. It is interesting to have actual ugly dancing moments to underscore how mean they are, but it is only interesting for a few seconds. Then, you are looking for more. Caricatures are not deep. Funny, but not deep or thrilling. After that it starts to be annoying. But Cinderella has some beautiful moments, and I enjoy the Season (Spring, Summer, Autumn, Winter) Fairies. Some bravura moments in these male fairy dances. I think this is B-side Mariinsky. Better than nothing but not what people really want when they want to see the Mariinsky Ballet.

I think Ratmansky has some good ideas, but he seems overly concerned with making things "hip" and "cool." I don't think "hip" and "cool" necessarily withstands the test of time. When he throws out the desire to be "hip" he actually can produce some nice choreography that is both pleasing and modern but definitely based on classical ballet.

[aurora]

Birdsall, on 21 October 2012 - 09:19 AM, said:

I agree with what you say. It has some nice moments, but some purposely "ugly" moments that are interesting the first time but get old real fast. I am thinking of the step sisters and step mother. Yes, it is funny and sort of fun. It is interesting to have actual ugly dancing moments to underscore how mean they are, but it is only interesting for a few seconds. Then, you are looking for more. Caricatures are not deep. Funny, but not deep or thrilling. After that it starts to be annoying.

What Cinderella has a Stepmother and stepsisters that are not caricatures?
Are those characters meant to be deep or thrilling? Are they deep characters as written? Or are they,  in fact, quite explicitly the opposite?

[Birdsall]

aurora, on 21 October 2012 - 09:23 AM, said:

Birdsall, on 21 October 2012 - 09:19 AM, said:

I agree with what you say. It has some nice moments, but some purposely "ugly" moments that are interesting the first time but get old real fast. I am thinking of the step sisters and step mother. Yes, it is funny and sort of fun. It is interesting to have actual ugly dancing moments to underscore how mean they are, but it is only interesting for a few seconds. Then, you are looking for more. Caricatures are not deep. Funny, but not deep or thrilling. After that it starts to be annoying.

What Cinderella has a Stepmother and stepsisters that are not caricatures?
Are those characters meant to be deep or thrilling? Are they deep characters as written? Or are they,  in fact, quite explicitly the opposite?

Well, I don't disagree with you. If any characters should be caricatures, I guess they should be. I guess for me personally I would have liked more subtlety in their choreography, but that is just a personal taste. They are supposed to provide comic relief, and at moments it is funny. I am just not a huge comedy fan, so that might be it too.