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Skorik


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#436 Mathilde K

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Posted 07 August 2014 - 04:07 AM

I wonder if all the teachers/coaches could have a meeting with Fateyev and Gergiev and express concern about quality and the hours spent helping dancers not quite ready vs. the lack of hours spent coaching excellent dancers who deserve more coaching to perfect roles. Maybe the coaches do not want to speak up or they already have and feel it is like talking to a brick wall.


They are afraid. Fear of being replaced. At Mariinsky there are no irreplacable people.

#437 Mathilde K

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Posted 07 August 2014 - 06:59 AM

It is amazing that Fateyev slandered his own dancers. Very strange.

None of the discussion that took place in the Fall 2012 lost any actuality.

I find it ironic that in the thread started in anticipation of Skoryk's opening night performance of «Swan Lake» in California, not a single person reported on that performance. A catastrophe occurred, as some feared, in the fouettés. This did not prevent Fateev to give her 4 more «Swan Lakes» during that tour. In Berkeley, however, he decided to place Kondaurova on the opening night. I enjoyed that performance tremendously in spite of the fact that apart from Adagio, Kondaurova was not particularly subtle as Odette, while her Odile was marred by quite a few small lapses and her fouettés were weak.

#438 alexaa1a

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Posted 07 August 2014 - 08:50 AM

It is amazing that Fateyev slandered his own dancers. Very strange.

None of the discussion that took place in the Fall 2012 lost any actuality.

I find it ironic that in the thread started in anticipation of Skoryk's opening night performance of «Swan Lake» in California, not a single person reported on that performance. A catastrophe occurred, as some feared, in the fouettés. This did not prevent Fateev to give her 4 more «Swan Lakes» during that tour. In Berkeley, however, he decided to place Kondaurova on the opening night. I enjoyed that performance tremendously in spite of the fact that apart from Adagio, Kondaurova was not particularly subtle as Odette, while her Odile was marred by quite a few small lapses and her fouettés were weak.

Yes, it is unfortunate that when Skorik has had her most disastrous fouettes, nobody was around to film her. In opening night at Costa Mesa, the impressario, Sergei Danilian, was so upset that the opening star would mess up so horribly. Of course, her worst fouettes were in her debut in the Black Swan pas de deux in Miami Beach which was witnessed by miamicubanboy, who often writes on this forum and stated that that experience of disastrous Skorik was his most miserable ballet experience ever.

Skorik, thanks to the casting policies of Yuri Fateyev, is the world's greatest ballerina at making people suffer through their most miserable ballet experience ever.  Yes, Skorik is great at making people suffer, but she is way down the totem pole when compared to mediocre ballerinas. Sergei Danilian would testify that his most horrific ballet experience was when Skorik floundered, unlike a swan in her disastrous fouettes on opening night of the 2012 California tour. Miamicubanboy has written that his experience watching Skorik in Miami Beach with her horrific fouettes was his worst ballet experience ever.

My most horrific ballet experience in my almost 55 years of watching ballet was when Skorik did the hopping ballonnees in Giselle's act 1 variation. Her first ballonnee was on pointe and after she fell off pointe after her first ballonnee, she never even attempted to get back on pointe. I have seen young Vaganova students stay on pointe in ballonnees much longer than that one time Skorik did it.

When Skorik was shown in her famous disaster video which she forced Fateyev to have removed from youtube, people thought that it was an extensive search for her miserable errors, when in actuality , no search was necessary. Every time that I saw her dance a significant solo role or principal role, she made disastrous mistakes in every performance that it became a personal nightmare to me, always questioning "How can Fateyev keep giving her roles after all these mistakes in every performance".

#439 alexaa1a

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Posted 07 August 2014 - 08:57 AM

 

It is amazing that Fateyev slandered his own dancers. Very strange.

None of the discussion that took place in the Fall 2012 lost any actuality.

I find it ironic that in the thread started in anticipation of Skoryk's opening night performance of «Swan Lake» in California, not a single person reported on that performance. A catastrophe occurred, as some feared, in the fouettés. This did not prevent Fateev to give her 4 more «Swan Lakes» during that tour. In Berkeley, however, he decided to place Kondaurova on the opening night. I enjoyed that performance tremendously in spite of the fact that apart from Adagio, Kondaurova was not particularly subtle as Odette, while her Odile was marred by quite a few small lapses and her fouettés were weak.

 

My worst ballet experience ever begins at 13 minutes 3 seconds of this video.

 



#440 Tiara

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Posted 07 August 2014 - 10:06 AM

I think Oxana Skorik has a real problem with that left ankle.  That was a calamitous performance.  Bad fouettes and bad ballonnes and numerous mistakes - whether these are because of underlying faulty technique or physical limitations, or both, she is very lucky that the current Acting Artistic Director has a forgiving nature.



#441 Helene

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Posted 07 August 2014 - 12:24 PM

Thank you all for your thoughts on these matters. Especially Natalia, for that splendid collection of links, but really all of y'all, even those not sympathetic to my view, since it's such a stimulating conversation, and you all know so much.

Birdsall, you raise a point about why the men's variations -- I have not heard that argument, but I remember hearing it was common knowledge that Petipa did not choreograph the men's variations, but let the men choreograph their own most effective solos.

 

Petipa created male solos that were not danced by the hero, but by a surrogate of sorts in some of his ballets.  Also, Petipa did choreograph male solos:  in two of Doug Fullington's presentations, a dancer demonstrated Prince Florimund's Wedding PDD variation from the notations, and it looked a lot more similar to Bournonville in style than the big sweeping variations we see today.  Also Doug noted that in at least one case, the male dancing toward the end of Peitpa's life had already changed the variation to what we would think of as a more modern "after Petipa" style.  (It may have been Gorsky.)



#442 Helene

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Posted 07 August 2014 - 01:45 PM

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#443 Mathilde K

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Posted 10 August 2014 - 01:13 AM

David Dougill in Sunday Times

http://www.thesunday...icle1443371.ece

Quote:

"First off were Oxana Skorik as Odette/Odile and Timur Askerov as Prince Siegfried both of them first soloists. Askerov has a warm personality (he smiles a lot) and a plushly elegant dancing style. Skoriks Odette has beautiful line and phrasing, but is too remote and mannered in characterisation. Their lakeside pas de deux was meticulous but soulless. In the ballroom scene, Skorik was a dazzling fouetté-ist, but her seductiveness was mostly surface."

#444 Buddy

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Posted 18 August 2014 - 06:11 PM

There is now a June video clip of Oxana Skorik performing Diamonds ( Драгоценности) (with Konstantin Zverev). I’ve seen a lot of Oxana Skorik performances (and a lot of videos) and all I can really say is that after two viewings -- I’m Spellbound.

 

 

Correction: Драгоценности translates (Google) as "Jewelry," thus Jewels, but Oxana Skorik and Konstantin Zverev are performing the duet from Diamonds.




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