Tiara, on 22 August 2012 - 02:19 AM, said:
The Berkeley Swan Lake casting kindly provided by alexaa1a provides yet another example of unimaginative casting by Yuri Fateyev. I actually wonder if the problem is that Yuri Fateyev just cannot recognize real talent when he sees it, since there are so many ballerinas who never get a chance? Or is he just unable to take the advice of his assistants and the Mariinsky coaches? Furthermore, can he not see that touring is his chance to let the world see a vibrant company bursting with talent and he should actually be promoting all his young dancers and giving them opportunities to be seen? It really is mystifying.
The principal casts for Orange County are status quo as well: http://scfta.org/hom...07&NavID=91
The best thing with this engagement - so far, (note the " * "
), is that Tereshkina gets opening night. Unfortunately, the best active O/O in the company (Lopatkina) will not be on this tour. "Mystifying" you say? Look at the 2nd, 3rd, 5th and 6th evening casts. The newest Principal (Kondaurova), gets one performance - and it's brunch patrol (the matinee). She also gets the Berkeley matinee. At the OC, this 2006 Benois, 2008 Golden Sophit, 2010 Golden Mask, and 2011 Spirit of Dance award winning prima will perform just hours before you know who. Yes: Once again, it is she. The other Mlle. S. will also get two performances. IMO, neither one of them should have gotten more evening performances on the upcoming tour over Kondaurova in this ballet. If you compare Kondaurova with these two there's no comparison. The one shouldn't get the nod because of deficient seniority, rank and capability, and the other shouldn't because of deficient seniority and lack of ability. I don't think I need to spell out which 'one's' I mean. Kolegova is also getting two evening performances in Berkeley. What can one say? I'm just grateful that Kondaurova (and Kolegova) are being packed for this engagement at all.
Jayne wrote: " 'Well, which "dead wood" would you peel away? Which dancers would you promote?' "
Principal rank (women) - Nioradze & Makhalina. Promote Novikova, Osmolkina, Selina or Ivanova to fill their places. Lopatkina, Vishneva, (and if Fateev ever
chooses to put her back in the game) - Pavlenko, are still in their prime.
Principal rank (men) - Zelensky is A.D. at the Stanislavsky in Moscow now. Before this appointment he was A.D. in Novosibirsk, making rare guest appearances in Petersburg. He doesn't do this now - at least not frequently enough to remain on the roster. One or more of the following gentlemen could flesh out the rank, take some of the pressure off Shklyarov and could be further developed to take Kolb and Korsuntsev's spots in a few years: Steppin, Zyuzin, Sergeev, Zverev, or Timofeyev. Askerov is new, and still an unknown quantity, but Fateev seems to be pushing him now. Batalov, alas, has been on the bench since the mid 90s and his time has sadly passed. The soloist ranks are top heavy and overloaded with a wealth of talent, as are the coryphee and corps ranks. This dilemma, and Fateev's seeming inability to develop in-house talent and address this issue has already been covered.
Re promotions in the Mariinsky: A woman must perform O/O in the Mariinsky Theatre to be eligible for promotion to principal. If you've performed it elsewhere and came from the outside, bringing the experience with you, you are allowed to do it. For example, in the past Tchyentchikova-Vazieva and Kunakova both came from Perm, did it there, and became Mariinsky stars. In recent years, Kolegova came from the Tkachine, Eifman and the Lithuanian company in Vilnius. She joined as a 1st soloist, and she did it. Matvienko was Principal at the Mikhailovsky, joined as a 1st soloist and she did it. 2nd soloist, Elena Yevseyeva came from the Mikhailovsky, and joined four years ago. She danced O/O there as well as Raymonda, Medora, Giselle, Aurora and Kitri: She hasn't been given a debut yet. One gets O/O only if
The Management 1) Decides that you 'can' do it and that you have the technique, physique, temperament, are suited for it and they want you to do it; and 2) See point #1. Their idea of "emploi" is a huge factor here. Of course there have been a few exceptions where one becomes Principal without having done so - Vishneva for example. But she waited 10 years for her hometown debut. Obraztsova, Vishneva and Novikova made their debuts elsewhere. Each of them outsourced the role; but Vishneva and Novikova eventually got their Mariinsky debuts. Obraztsova made her debut at the Stan in Moscow, and moved on to become a Bolshoi Principal. Had she stayed, she most likely would still be a 1st Soloist, and still wouldn't be given her shot - regardless of the Moscow debut.
Now, it's not that hard and fast a rule for Siegfried for the men, but in general it's 'The Rule' for the women. So, to recap, a woman isn't eligible for promotion to principal without having completed a performance O/O in that opera house or on tour. They don't recognize that you have "done it," if you haven't done it with them. Golub has yet to make her debut as O/O, as well as Selina and many others who deserve their chance and have waited years for it. Time will tell whether they'll get their opportunity. However, even if one finally gets a debut, unless that person is highly favored by the management, even that is no guarantee that person will (ever?) get another performance, (i.e. Novikova and Osmolkina).