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2012/2013 Mariinsky Ballet Season: General News, etc.


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#16 Birdsall

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Posted 20 September 2012 - 02:49 PM

By the way, do not think that I find Novikova lacking b/c of my previous posting. I love her in this! She's amazing in everything she does, it seems!

#17 Birdsall

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Posted 20 September 2012 - 03:34 PM

Someone contacted me and said that the steps are indeed different, but they look the same to me. I have asked for an explanation. If someone else can explain, please do. This is all about learning.

#18 ksk04

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Posted 20 September 2012 - 04:02 PM

Someone contacted me and said that the steps are indeed different, but they look the same to me. I have asked for an explanation. If someone else can explain, please do. This is all about learning.


They are both jumps on pointe so they do look similar, but having watched Tereshkina just now, she does changements while Novikova does entrechats. Changements simply jump, change, and land, but entrechats (quatre, trois, six, whatever) beat multiple times midair before landing. Novikova does two changements in the middle, which is when you see her fifth position alternate.

#19 Birdsall

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Posted 20 September 2012 - 04:54 PM


Someone contacted me and said that the steps are indeed different, but they look the same to me. I have asked for an explanation. If someone else can explain, please do. This is all about learning.


They are both jumps on pointe so they do look similar, but having watched Tereshkina just now, she does changements while Novikova does entrechats. Changements simply jump, change, and land, but entrechats (quatre, trois, six, whatever) beat multiple times midair before landing. Novikova does two changements in the middle, which is when you see her fifth position alternate.


Thanks for the description, ksk04! This is very helpful for me. I usually think of entrechats as like when men do them jumping high, so Novikova's looked different. I guess she does them delicately to fit the character.

So when a dancer changes the choreography a little here, is it purely the dancer's decision, or is it made after discussing with others (like the artistic director and/or conductor if the tempo might need slight changing)? I know that in opera a singer doesn't embellish an aria without discussing it with the conductor first and the conductor (at least nowadays) usually has final say in the matter whether embellishments will be used or not.

This particular change by Novikova seems like a change that could be done independently b/c the tempo does not sound different to me compared to the other times I have seen Raymonda, so maybe ballet dancers have more leeway than singers. Please give insight into this if you have any!

#20 Rosa

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Posted 20 September 2012 - 05:00 PM

Multiple videos of last night's opening Raymonda are now available on YouTube. This one of Novikova dancing the Act II variation is noteworthy, as she reinstates a bit of the 1898 Vikharev-after-Petipa reconstruction to the Mariinsky: the sequence of multiple entrechats-six, here only 24 (instead of the 30+ at La Scala) but still mighty impressive. Also, you will notice that she performs the sequence in a diagonal, rather than the La Scala positioning straight down the stage (backstage to front).

http://www.youtube.com/watch?v=xgeubylR69s&feature=plcp


Thanks, Natalia! Novikova looks so lovely and confident.

#21 MRR

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Posted 20 September 2012 - 10:00 PM

http://www.youtube.com/watch?v=xgeubylR69s&feature=plcp


A beautiful variation. Promote Olesya to principal STAT!

#22 cinnamonswirl

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Posted 21 September 2012 - 06:25 AM

Glorious Novikova! I think doing the quatres straight down the stage shows them off better than on the diagonal (although the camera angle is different too, which probably doesn't help).

Thanks for the description, ksk04! This is very helpful for me. I usually think of entrechats as like when men do them jumping high, so Novikova's looked different. I guess she does them delicately to fit the character.

So when a dancer changes the choreography a little here, is it purely the dancer's decision, or is it made after discussing with others (like the artistic director and/or conductor if the tempo might need slight changing)? I know that in opera a singer doesn't embellish an aria without discussing it with the conductor first and the conductor (at least nowadays) usually has final say in the matter whether embellishments will be used or not.

This particular change by Novikova seems like a change that could be done independently b/c the tempo does not sound different to me compared to the other times I have seen Raymonda, so maybe ballet dancers have more leeway than singers. Please give insight into this if you have any!


When you're jumping in soft shoes, you use a deep plie, roll through the foot and push off from the ground using your toes. On pointe you can't do that. So you don't get a lot of height, but you do still have to get airborne for long enough to beat the legs. That's what makes it's so difficult.

For changes, I think it depends on the type of change, the reason for the change, the individual dancer and their company. This is a relatively small change. Beats make the step harder (a lot harder on pointe), but choreographically it's not a huge difference. The conductor didn't have to take endless repeats while she jumped, for example. Usually changes are worked out in rehearsal, so the dancer's coach, repetiteur, conductor and the other dancers will know what is going on.

Of course, there are instances where someone has a fit of pique or spite and makes huge changes on the spur of the moment. Or maybe the atmosphere/politics in a company is such that the dancer does not want to rehearse changes in public and just does them on stage. In some companies, like the Mariinsky (I think), it is normal/ok for dancers to make small changes/accommodations to suit style, technique, personal preference etc. In others, such as POB, it is not acceptable to make changes - everyone dancing the same role is supposed to be doing the same choreography. And why they are making the change is important too. Do they have an injury that necessitates the change? Is it a different version of a classic variation? (Think of all the iterations of Kitri's variation, for example.) Do they just not like the way the step looks? And also, is the choreography copyrighted?

#23 Birdsall

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Posted 21 September 2012 - 07:37 AM

Glorious Novikova! I think doing the quatres straight down the stage shows them off better than on the diagonal (although the camera angle is different too, which probably doesn't help).


Thanks for the description, ksk04! This is very helpful for me. I usually think of entrechats as like when men do them jumping high, so Novikova's looked different. I guess she does them delicately to fit the character.

So when a dancer changes the choreography a little here, is it purely the dancer's decision, or is it made after discussing with others (like the artistic director and/or conductor if the tempo might need slight changing)? I know that in opera a singer doesn't embellish an aria without discussing it with the conductor first and the conductor (at least nowadays) usually has final say in the matter whether embellishments will be used or not.

This particular change by Novikova seems like a change that could be done independently b/c the tempo does not sound different to me compared to the other times I have seen Raymonda, so maybe ballet dancers have more leeway than singers. Please give insight into this if you have any!


When you're jumping in soft shoes, you use a deep plie, roll through the foot and push off from the ground using your toes. On pointe you can't do that. So you don't get a lot of height, but you do still have to get airborne for long enough to beat the legs. That's what makes it's so difficult.

For changes, I think it depends on the type of change, the reason for the change, the individual dancer and their company. This is a relatively small change. Beats make the step harder (a lot harder on pointe), but choreographically it's not a huge difference. The conductor didn't have to take endless repeats while she jumped, for example. Usually changes are worked out in rehearsal, so the dancer's coach, repetiteur, conductor and the other dancers will know what is going on.

Of course, there are instances where someone has a fit of pique or spite and makes huge changes on the spur of the moment. Or maybe the atmosphere/politics in a company is such that the dancer does not want to rehearse changes in public and just does them on stage. In some companies, like the Mariinsky (I think), it is normal/ok for dancers to make small changes/accommodations to suit style, technique, personal preference etc. In others, such as POB, it is not acceptable to make changes - everyone dancing the same role is supposed to be doing the same choreography. And why they are making the change is important too. Do they have an injury that necessitates the change? Is it a different version of a classic variation? (Think of all the iterations of Kitri's variation, for example.) Do they just not like the way the step looks? And also, is the choreography copyrighted?


Cinnamonswirl, thanks for taking the time to explain very fully to me. That is very helpful to read your description. I think the "straight down the stage" entrechats in the La Scala video makes it more apparent that they are entrechats for me. Doing them in a diagonal kept me from seeing the difference, but now after your description and ksk04's comments I see it. I also like your explanation how it is harder to do the entrechats on pointe. It makes sense now that you explain it, but since I am not a dancer I didn't even think about that aspect.

Your comments on the planning or not planning changes in choreography was also very helpful!

#24 cubanmiamiboy

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Posted 21 September 2012 - 09:58 AM

Indeed one of the things I feel in owe while watching Miss Novikova is the strenght she shows on her legs-(particularly over her ankles and pointes). She looks such in control up there and not in a bit of hurry to fast up the steps or the balances. in order to get down. Yes, many times one can perceive a bit of "artistic choice" in the way some dancers-(both male and female)-seem to opt to do a couple of changements in certain passages and pass them as entrechats-(perhaps they think no one will realize due to how fast they get done..?). Anyway...that's why I always show the videos of divine Soloviev to see how a super-trouper textbook perfect entrechat well done ought supposed to look like, and then that also remind me that anecdote of Nureyev watching a dancer stage rehearse a sequence of entrechats, and by mid sequence he stormed out of his chair and screamed..."Is that and entrechat-six..?! That's an entrechat-PISS!!" Posted Image (From Kavanagh's biography)

#25 Birdsall

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Posted 21 September 2012 - 01:02 PM

Indeed one of the things I feel in owe while watching Miss Novikova is the strenght she shows on her legs-(particularly over her ankles and pointes). She looks such in control up there and not in a bit of hurry to fast up the steps or the balances. in order to get down. Yes, many times one can perceive a bit of "artistic choice" in the way some dancers-(both male and female)-seem to opt to do a couple of changements in certain passages and pass them as entrechats-(perhaps they think no one will realize due to how fast they get done..?). Anyway...that's why I always show the videos of divine Soloviev to see how a super-trouper textbook perfect entrechat well done ought supposed to look like, and then that also remind me that anecdote of Nureyev watching a dancer stage rehearse a sequence of entrechats, and by mid sequence he stormed out of his chair and screamed..."Is that and entrechat-six..?! That's an entrechat-PISS!!" Posted Image (From Kavanagh's biography)


OMG!!! You made me laugh at that!

#26 Natalia

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Posted 23 September 2012 - 04:34 AM

Late-October debuts scheduled (post-USA tour):

Keenan Kampa: Myrtha in Giselle (Oct 29, in full Act II at the Concert Hall) and Dryad Queen in DQ (Oct 28, main theater). Keenan is so new she's not even listed on the MT web's roster yet! (A Yuri Fateev record for rapid ascent?)

and, as prevously mentioned in the Daria Pavlenko thread, Dancer forum:

Daria Pavlenko debuts as Titania in Balanchine's Midsummer Night's Dream on Oct 27.

Ekaterina Osmolkina debuts in the Act II PDD in the same ballet, also Oct 27.

#27 amiaow

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Posted 23 September 2012 - 04:58 PM

Skorik is also dancing Titania on Oct 26- I believe she only danced the PDD last season.

What may also be of interest, although not a debut, is a performance by Yulia Makhalina in the divertissements of September 27th, though I have been unable to find out what she is dancing!

#28 Natalia

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Posted 28 September 2012 - 09:07 AM

Today seems to be "Promotions Day" at the Mariinsky. As others have pointed out on the Skorik and Ardani Tour threads, Oksana Skorik was promoted to 1st Soloist. Just a few minutes ago, no fewer than 3 corps ladies are elevated to Choryphee: Stepanova, Ivannikova and Krasnokutskaya. Maybe some men were also promoted? Kim Kimin continues as Trainee but he'll be dancing Basil on Don Q in StP while the tour is going on.

I know some fans who will be thrilled for Stepanova. This is overdue, even though she is relatively young.

#29 YID

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Posted 28 September 2012 - 09:17 AM

Kim Kimin partners Olesya Novikova in DonQ on Oct. 19th -very great for both

#30 Natalia

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Posted 28 September 2012 - 09:18 AM

Very nice! Something slightly odd about the leading lady who opened the season (Raymonda) being partnered by a 'trainee' but the reality is that both are equals in the fireworks department!

The Corps Roster has also been updated to include the many Vaganova Class of 2012 graduates who joined, such as Varentseva, Lopatin and Latypov:
http://www.mariinsky...let/kopsballet/


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