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Bolshoi: London 2013 (29 July-17 Aug) @ Royal Opera House


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#76 Cygnet

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Posted 05 August 2013 - 10:21 AM

Thanks to everyone on site in London for your detailed reports; they are much appreciated. 

beg.gif that Masha Alexandrova fully recovers! 



#77 volcanohunter

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Posted 05 August 2013 - 11:44 AM

In face of Alexandrova's unfortunate injury, the following cast changes have been made to the Bolshoi/London Schedule:
 
Sleeping Beauty: Krysanova August 8th
 
Swan Lake:  Krysanova August 10th; Shipulina August 14th
 
Flames of Paris: Osipova and Vasiliev - now dance August 17th (evening) as well as 16th
                             Lantratov will now dance with Shipulina for the 17.8 matinee in place of Volchkov.  

 
All has been gratefully updated on the Bolshoi website, but not - as usual - on the ROH's.  (Perhaps it is because ALL the tickets have been sold and this is, of course, a rental .... though they are never very quick on the draw for the Royal Ballet even when they still have seats a-begging and the productions are in-house!!)


Wrinkle: Before the curtain went up tonight it was announced that owing to injury the Bluebird would be danced by Denis Rodkin rather than Lantratov. Developing, I guess.

#78 cubanmiamiboy

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Posted 05 August 2013 - 03:10 PM

Krysanova it was paired with Ovcharenko.  I liked her in the role, although compared to my last Aurora-(Herrera)-she falls behind the Argentinean.  I missed the technical reassurance of the princess' arms "en couronne" during the RA.  Krysanova seemed nervous to go from hand to hand, and she switched them VERY quickly.  On the good side, she showed great restraint on her extensions.  It is nice to get a Russian break from the contortionists of the world.  Ovcharenko was beautiful to watch.  His tours en l'air during his act III variation were wonderful, and his landings very plush and lovely.  Shipulina's Lilac was nice too, although Grigorovich ideas for this role was all about what he does best...fill, fill, fill everything, every single musical note with chainee turns and arabesques.  Lilac's choreo was particularly unfortunate during the Vision scene, where she engages in some sort of silly mirror dancing with Aurora while she dances with Desiree.

This production suffers particularly during this scene.  On my way out of the theater I got a glimpse of a picture hanging in a corridor showing a moment during this scene with Fonteyn as Aurora, Beryl Grey as Lilac and Helpmann as Desiree, and wow...what a difference.  The Bolshoi production has no forest, but instead we keep seeing this annoying patterned floor and the classical columns still on the sides.  It is VERY hard to guess that this is all happening outside a palace, and all this busy baroque surrounding, including the floor, diminishes a great deal the usually mysterious and lovely feeling of this part of the ballet.

One of the high points of the production is the showing of the characters divertissements in act III, with the nice bonus of Cinderella and her Prince-(a very rare dancing moment from every other SB production I've ever seen).  Rodkin did really good as the Bluebird, and here I should say that his brise voles were more satisfactory than those of Vasiliev-(my last BB before Rodkin).

Why does the company keep milking applauses?  After the last curtain call for the whole troupe onstage was over, the whole house gradually stopped applauding altogether, and still they opened the curtain for individual bowing.  I think this should only happen if the house is being insistent, and tonight it was not the case, so the moment looked sort of awkward.  But then, when they started bowing individually, the wonderful British audience responded with gusto. Lovely manners, I'd say-(which I should extend to the WHOLE of the people over here, so allow me to say this in capitals...

 

 I'M LEAVING THIS TOWN FULL OF AN IMMENSE SENSE OF WARMTH AND HIGH VALUE OF ITS PEOPLE.  LONDONERS ARE LOOOOOOOOOOVELY!!!!

 

Thank you SO MUCH for having me felt so good and welcomed over here. 

 

Hugs. thanks.GIF flowers.gif wub.png clapping.gif tiphat.gif



#79 Drew

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Posted 05 August 2013 - 11:22 PM

Krysanova it was paired with Ovcharenko.  I liked her in the role, although compared to my last Aurora-(Herrera)-she falls behind the Argentinean.  I missed the technical reassurance of the princess' arms "en couronne" during the RA.  Krysanova seemed nervous to go from hand to hand, and she switched them VERY quickly.  On the good side, she showed great restraint on her extensions.  It is nice to get a Russian break from the contortionists of the world.  Ovcharenko was beautiful to watch.  His tours en l'air during his act III variation were wonderful, and his landings very plush and lovely.  Shipulina's Lilac was nice too, although Grigorovich ideas for this role was all about what he does best...fill, fill, fill everything, every single musical note with chainee turns and arabesques.  Lilac's choreo was particularly unfortunate during the Vision scene, where she engages in some sort of silly mirror dancing with Aurora while she dances with Desiree.

This production suffers particularly during this scene.  On my way out of the theater I got a glimpse of a picture hanging in a corridor showing a moment during this scene with Fonteyn as Aurora, Beryl Grey as Lilac and Helpmann as Desiree, and wow...what a difference.  The Bolshoi production has no forest, but instead we keep seeing this annoying patterned floor and the classical columns still on the sides.  It is VERY hard to guess that this is all happening outside a palace, and all this busy baroque surrounding, including the floor, diminishes a great deal the usually mysterious and lovely feeling of this part of the ballet.

One of the high points of the production is the showing of the characters divertissements in act III, with the nice bonus of Cinderella and her Prince-(a very rare dancing moment from every other SB production I've ever seen).  Rodkin did really good as the Bluebird, and here I should say that his brise voles were more satisfactory than those of Vasiliev-(my last BB before Rodkin).

Why does the company keep milking applauses?  After the last curtain call for the whole troupe onstage was over, the whole house gradually stopped applauding altogether, and still they opened the curtain for individual bowing.  I think this should only happen if the house is being insistent, and tonight it was not the case, so the moment looked sort of awkward.  But then, when they started bowing individually, the wonderful British audience responded with gusto. Lovely manners, I'd say-(which I should extend to the WHOLE of the people over here, so allow me to say this in capitals...

 

 I'M LEAVING THIS TOWN FULL OF AN IMMENSE SENSE OF WARMTH AND HIGH VALUE OF ITS PEOPLE.  LONDONERS ARE LOOOOOOOOOOVELY!!!!

 

Thank you SO MUCH for having me felt so good and welcomed over here. 

 

Hugs. thanks.GIF flowers.gif wub.png clapping.gif tiphat.gif

 

When I saw the live film broadcast of this production I found the floor very distracting. Even on youtube I find it distracting.

 

Glad you had a lovely time in London.



#80 volcanohunter

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Posted 06 August 2013 - 02:23 AM

Sleeping Beauty, August 5

 

Princess Aurora - Ekaterina Krysanova

Prince Désiré - Artem Ovcharenko

Lilac Fairy - Ekaterina Shipulina

Carabosse - Alexei Loparevich

King - Alexander Fadeyechev

Queen - Kristina Karasyova

Catalabutte - Vitaly Biktimirov

Candide - Daria Khokhlova

Fleur-de-Farine - Chinara Alizade

Breadcrumb - Daria Bochkova

Canary - Anastasia Stashkevich

Violente - Anna Tikhomirova

Fairies’ Cavaliers - Mikhail Kryuchkov, Mikhail Kochan, Dmitri Efremov, Artem Belyakov, Maxim Oppengeym, Batyr Annadurdyev

Suitors - Karim Abdullin, Yuri Baranov, Ivan Alexeyev, Denis Rodkin

Aurora’s Friends - Angelina Vlashinets, Anna Okuneva, Ana Turazashvili, Yulia Grebenshchikova, Svetlana Pavlova, Elizaveta Kruteleva, Margarita Shrainer, Anna Voronkova

Duchess - Maria Zharkova

Gallifron - Vasily Zhidkov

Peasant Dance - Anna Antropova, Alexander Vodopetov

Diamond - Anna Leonova

Sapphire - Viktoria Litvinova

Gold - Maria Vinogradova

Silver - Yanina Parienko

Princess Florine and Bluebird - Kristina Kretova, Denis Rodkin

Red Riding Hood and Wolf - Anna Voronkova, Denis Savin

White Cat and Puss in Boots - Yulia Lunkina, Denis Medvedev

Cinderella and Prince Fortuné - Anna Tikhomirova, Artem Belyakov

 

conductor - Pavel Sorokin

 

The last time I visited London I came to see the Royal Ballet’s justly famous production of The Sleeping Beauty. To be honest, this time I considered not going to see the Bolshoi’s version at all because so much of the music is brutally hacked away. The cuts are most obvious in the rump version of the fairies’ adagio in the prologue, but they’re pervasive, from beginning to the very end; for example, my favorite passage in the entire ballet ends up dumped from the vision scene.

 

It would probably take truly great performances to overcome this fundamental flaw, and what I saw last night was fine, but not quite that. Ekaterina Krysanova’s Aurora makes an extremely fast entrance, but she can keep up. It’s true that in the Rose Adagio she doesn’t hoist her legs as high as many ballerinas are wont to do, but unfortunately she distorts her torso as much. In her first-act solo she got through all of her pirouettes without a hitch. There is an unfortunate tendency among Auroras today to aim for all triples, only to falter by the second or third pirouette; Krysanova delivers a single, double, triple and quadruple pirouette in sequence and without excuses. She’s got a light, airy jump. You get no sense that pointe shoes are slowing her down. I thought she was at her best in her lovely vision scene variation.

 

Artem Ovcharenko’s Prince made his entrance emphatically with high-flying jumps, but finished the solo somewhat less strongly with chaîné turns on the flaccid side, and then stumbled a bit through the solo adagio that followed. His jumps have a beguiling lightness, but his port de bras have a throwaway quality; they appear under-supported and without a sense of energy extending all the way to his hands.

 

(I know hands are tough, and I wasn’t really satisfied with Krysanova’s or Ovcharenko’s, but that’s a long discussion that should probably be conducted separately.)

 

I thought Ekaterina Shipulina was a lovely Lilac Fairy, her dancing big and regal and gracious. In her variation I missed only a smidge of the luxuriant plushness that the Royal Ballet’s Lilac Fairies bring to the solo. Alexei Loparevich’s Carabosse was likewise about as good as transvestite versions get.

 

Here I have to lodge a complaint against Vinicio Cheli’s lighting. Carabosse appears to have a reddish spotlight, which is no doubt intended to appear menacing, but mostly looks dark. The Lilac Fairy does not appear to have special lighting at all. Perhaps it’s a lilac spot, but the net effect is to make her nearly invisible on stage. The only time she catches a break is when she veers into Aurora’s or Désiré’s spotlight. Unfortunately, so much of the time what is supposed to be her benevolent presence at crucial moments gets lost somewhere in the dim upstage.

 

Vitaly Biktimirov was a thoroughly excellent Catalabutte, younger and more energetic than you often see. Daria Khokhlova was admirable in the développé-tombé sequence of her solo, and Anastasia Stashkevich had amazing speed and elevation. Anna Tikhomirova was perhaps a little too “violente” as the Finger Fairy. Maria Vinogradova’s Gold Fairy stood out.

 

Kristina Kretova and Denis Rodkin were excellent in the Bluebird pas de deux despite the funereal tempo at which they were forced to dance. Denis Savin. Finally! Even with half his face covered with a wolf mask he brought a small character vividly to life. Yulia Lunkina and Denis Medvedev were a sexy, witty pair of cats.

 

I agree wholeheartedly about the quasi-marble floor. It’s hideous, and I imagine that it is extremely distracting for people watching from overhead. Besides, it’s been in use for less than two years, but already looks horribly marked up.

 

By no means a terrible performance, but a flawed production, so I don’t think it justifies the high ticket prices.

I watched this performance from the balcony.



#81 Swanilda8

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Posted 06 August 2013 - 06:02 AM

Why does the company keep milking applauses?  After the last curtain call for the whole troupe onstage was over, the whole house gradually stopped applauding altogether, and still they opened the curtain for individual bowing.  I think this should only happen if the house is being insistent, and tonight it was not the case, so the moment looked sort of awkward.  But then, when they started bowing individually, the wonderful British audience responded with gusto. Lovely manners, I'd say-(which I should extend to the WHOLE of the people over here, so allow me to say this in capitals...

 

 

Thank you, cubanmiamiboy and volcanohunter for the detailed reviews.  It's exciting to feel like we're all a part of the action.  I'm glad you both liked Shipulina, who is one of my favorite dancers in the company.  I've never seen their Sleeping Beauty live, so I have no opinions on the marble floor, but they have a number of similar floor coverings for different productions and I agree that they can become distracting.

 

As for the bows, I imagine that they're just used to a Russian audience, who wouldn't dream of ending the applause before at least two to three sets of individual bows, after which a small group of devotees usually makes them come back out even more times (I've never stayed until the end because it goes on so long).  I can see how it would seem self-aggrandizing to a different audience, but I don't think it was meant that way.  It's good to hear that London (my favorite ballet city in the world) responded politely.  



#82 Drew

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Posted 06 August 2013 - 12:05 PM

 

Why does the company keep milking applauses?  After the last curtain call for the whole troupe onstage was over, the whole house gradually stopped applauding altogether, and still they opened the curtain for individual bowing.  I think this should only happen if the house is being insistent, and tonight it was not the case, so the moment looked sort of awkward.  But then, when they started bowing individually, the wonderful British audience responded with gusto. Lovely manners, I'd say-(which I should extend to the WHOLE of the people over here, so allow me to say this in capitals...

 

 

Thank you, cubanmiamiboy and volcanohunter for the detailed reviews.  It's exciting to feel like we're all a part of the action.  ...

 

As for the bows, I imagine that they're just used to a Russian audience, who wouldn't dream of ending the applause before at least two to three sets of individual bows, after which a small group of devotees usually makes them come back out even more times (I've never stayed until the end because it goes on so long).  I can see how it would seem self-aggrandizing to a different audience, but I don't think it was meant that way.  It's good to hear that London (my favorite ballet city in the world) responded politely.  

 

 

I join in the thanks. It has been great reading about the Bolshoi in London.

 

About the bows: you could be right, but . . . I don't know. On tour, dancers from the Bolshoi and Mariinsky (in my experience) almost always milk the applause and take a bow if so much as one person is still applauding..softly. But although I've never seen the Bolshoi at home, I did finally get to see the Mariinsky at home and for several of the performances I attended the audience was plenty tepid generating no individual bows at the end--certainly no 'extras.' (In any case, these are companies that tour a lot.) But different customs are just that...different.



#83 kbarber

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Posted 06 August 2013 - 01:39 PM

It doesn't have to be career-ending, but it's generally severe and has a long recovery time.

 

Keiichi Hirano of the National Ballet of Canada tore his achilles in the middle of the Erik Bruhn competition a few years ago and made a full recovery, but it took about six months as I recall.



#84 naomikage

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Posted 06 August 2013 - 08:16 PM

According to Ria Novosti, Alexandrova has an Achilles injury which may take up to  6 months or 1 year to heal.

http://ria.ru/cultur.../954062604.html

 

As for torn Achilles, Evan McKie of Stuttgart Ballet also tore his Achilles while performing the prince in Sleeping Beauty 4 years ago, and it also took him 7 months to recover. 



#85 Helene

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Posted 06 August 2013 - 09:04 PM

I, too, want to thank everyone who has posted in such great detail :flowers:

 

I hope Alexandrova has a full recovery on the fast side. 



#86 Barbara

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Posted 07 August 2013 - 04:55 AM

Looking forward to comments about the Zakharova/Hallberg SB. Anyone attend? Comparisons to the one they did that was shown in theatres and released on Dvd?



#87 meunier fan

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Posted 07 August 2013 - 05:38 AM

I wrote the following comments on the production on the balletcoforum ... for what they are worth ...

 

From Monday Night ...

 

Very briefly - out of a scale of 10:  Stage floor: -1 (most distracting as seen from above - read Amphi ... especially when any satin pointe shoe merges - read disappears - into the light reflecting gilt of it);   Denis Savin as the Grey Wolf: 11 (so refreshing to have a total characterisation - even half covered in a mask - THROUGH dance, one followed through and delighted in by the audience ... watch out for them there fangs smile.png ... but then he was brilliant too in the dance with the drum pairing on Saturday afternoon in Bayadere.)  

 

I'm sure others will have much more to say vis a vis last night ... but just now I must proverbially dash.  

 

Thanks for the photos, Dave.  They are a truly luxuriant treat and wonderfully framed.  That is Denis Rodkin partnering in the first photo in posting 3.  He danced the Bluebird last night and did, I thought, a good job of it.  (Believe it or not this lad is now one of the two dancers - the other being V. Lantratov who he replaced due to injury last night - doing the major roles in the Bolshoi's current productions of SPARTACUS and IVAN.  So pleased I had the privilege of seeing the 'other Ivan' ... a certain Mr. V .... while he was still about in Moscow  smile.png Perhaps while Vasiliev is still at ABT they should consider borrowing one or two of those Russian productions for him. - (Methinks they are inter-changable only IVAN has the better score.)!!  Love to see him opposite either, say, Gomes or Cornejo - or a guesting La Riche. THE LATTER WAS A BRILLIANT IVAN IN PARIS - but ALL listed are special artists!!)  Who knows that might even be able to fill the Coli if ABT were to bring it here and help to off-set the traditional lesser audiences for more recent works like Ratmansky's hailed Shostakovich Trilogy [I SO want to see that] .... or his upcoming Tempest .... What say we trade Wheeldon's new WINTER'S TALE ... Yeah, but I know the NBoC already have the NA rights for that!!).  Rodkin's Florine, Kristina Kretova, also pleased and she has the most enchantingly natural smile.  

 

From last night ... (Tuesday) ... 

 

Saw it for a second time tonight.  Highlights lodged within a gleaming but nonetheless sorry (or is that rather dull) lot:  

 

(1) David Hallberg deserves a medal (or is that a peerage - lots being given away for less at the moment) for (i) life-saving partnering given a partner (no names mentioned ... cough .. Zakharova ... cough) whose legs seem to live on a planet of their own imagining and (ii) for etching a character (one might almost say forcing one) out of exactly nothing (which last night's occupant did not even attempt I now realise) and doing it all with such enormous and open grace and joy.   Smirnova danced the Lilac Fairy and - after Saturday night's Bayadere - I was mightily disappointed.  True she has a ravishing instrument and was also gifted by Hallberg's esteemed presence ... but I lost count of the number of pirouettes she fell out of during her initial variation.  After that the smile of my heart in her regard became rather fixed I fear.  Of course, Mr. Crisp, It will live in the hope that it might be warmed again.  Fingers crossed. 

 

(2) the graceful Florine of the ever-dependable and charming Anastasia Stashkevich.  She danced tonight with last night's Desire, Artem Ovcharenko.  He looks good in blue,  - a long, cool drink of water - but Denis Rodkin, while more compactly so was, I fear, better equipped and certainly more responsive in terms of his partnering.  SO VITAL.  

 

(3) True highlight, however, was the ever wonderful Igor Tsvirko who appeared as Carabosse.  If you MUST have a Carabosse en travesti .... (and I, myself, prefer when they are not ... Oh, for Merrill Ashley in the original NYCB production) ... then THIS is your (wo)man!!  A class act Igor  - No qualms there.  Loved how he played the curtain call as if he was in a panto ... to (variously) much amusement and confusion amongst his Bolshoi peers.  'Only in England, huh!' one heard them murmur ... in Russian of course smile.png !! .... Somehow it sounds so much better that way smile.png   



#88 volcanohunter

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Posted 07 August 2013 - 05:03 PM

Sleeping Beauty, August 7

 

Princess Aurora - Evgenia Obraztsova

Prince Désiré - Dmitry Gudanov

Lilac Fairy - Ekaterina Shipulina

Carabosse - Denis Savin

King - Alexander Fadeyechev

Queen - Kristina Karasyova

Catalabutte - Alexei Loparevich

Candide - Daria Khokhlova

Fleur-de-Farine - Chinara Alizade

Breadcrumb - Daria Bochkova

Canary - Svetlana Pavlova

Violente - Anna Okuneva

Fairies’ Cavaliers - Mikhail Kryuchkov, Mikhail Kochan, Dmitri Efremov, Artem Belyakov, Maxim Oppengeym, Batyr Annadurdyev

Suitors - Karim Abdullin, Yuri Baranov, Ivan Alexeyev, Denis Rodkin

Aurora’s Friends - Angelina Vlashinets, Ana Turazashvili, Olga Marchenkova, Yulia Grebenshchikova, Anastasia Gubanova, Elizaveta Kruteleva, Margarita Shrainer, Anna Voronkova

Duchess - Maria Zharkova

Gallifron - Vasily Zhidkov

Peasant Dance - Anna Antropova, Alexander Vodopetov

Diamond - Anastasia Stashkevich

Sapphire - Viktoria Litvinova

Gold - Maria Vinogradova

Silver - Yanina Parienko

Princess Florine and Bluebird - Kristina Kretova, Denis Rodkin

Red Riding Hood and Wolf - Anna Voronkova, Anton Savichev

White Cat and Puss in Boots - Yulia Lunkina, Denis Medvedev

Cinderella and Prince Fortuné - Anna Tikhomirova, Karim Abdullin

 

conductor - Pavel Sorokin

 

Along the way the Bolshoi made so many principal casting changes to The Sleeping Beauty that ultimately this was the only combination of dancers I was really anticipating, and for the most part I was not disappointed.

 

Evgenia Obraztsova is, of course, a natural Aurora, but not in the Bolshoi manner. It’s fascinating to compare the way her ports de bras differ fundamentally from the arms traditionally used by Bolshoi Auroras. The Bolshoi style uses more deliberately bent elbows, as if to emphasize the Baroque origins of the positions. Obraztsova’s arms are not so stylized.

 

In the Rose Adagio I wish she could somehow make her à la secondes and penchées appear a little less emphatic; it’s awfully hard to make a six-o’clock position look demure. She also slowed down the final series of promenades to such an extent that it sapped the music of its propulsive drive. There were a few technical glitches. She fell out of her pirouette à la seconde in the Rose Adagio, and some of her footwork in the vision scene was less than entirely immaculate. There were also times when she appeared to be on different wavelengths with the conductor. During the first-act solo the music was too slow during her hops on pointe, and she could not maintain a consistent rhythm through the sequence. On the other hand, during the second act she appeared to want a slower tempo than the conductor was offering.

 

I suppose I was hoping for perfection, but it was not forthcoming this time.

 

After Aurora falls seemingly lifeless in Act 1, her parents seem oddly unperturbed. While this could be taken as a sign of their great confidence in the Lilac Fairy, it does not jive with the King’s determination to execute the (thoroughly charming) illicit seamstresses earlier in the act.

 

Dmitry Gudanov was a beautiful, elegant Prince, and what he may lack in power owing to his slight stature and build (by Bolshoi standards), he more than makes up for in refinement and technical purity. While his solo dancing was uniformly wonderful, he struggled a bit with the lifts in the vision scene, so he and Obraztsova fell behind the music on the supported back-and-forth développés toward the end of the adagio.

 

But by the final act all the difficulties had been ironed out, and the grand pas de deux was splendid on all counts: radiant, gracious and musical.

 

As the Lilac Fairy Ekaterina Shipulina seemed to have heard the secret wish of my heart and gave her dancing an extra dose of opulence that made her thoroughly splendid. I would like a fairy godmother like that! But her lighting is still a problem. From where I was sitting I could see that she indeed had a lilac-colored spotlight. Even her tights and shoes took on a lilac hue, and on top of her lilac costume and her lilac wig, it conspired to make her fade into the background.

 

I don’t like Carabosse’s red spotlight either, but at least it contrasts with the black costume. Denis Savin was wildly memorable in the role: petulant and tetchy rather than horribly nasty, and dancing with a great deal of vigor. It wasn’t just a matter of good acting; his dancing was expansive and had an enormous degree of physical control.

 

The prologue fairies were uniformly excellent. I would single out Anna Okuneva, who danced with a lot more dynamic variety than you typically see from the Finger Fairy. A tip of the hat also to the fairies’ cavaliers, who managed to stay synchronized in the coda even as the music sped up.

 

flowers.gif A big virtual bouquet to Kristina Kretova, who was breathtakingly flawless as Princess Florine. She’s got a phenomenal degree of control. Denis Rodkin was a strong foil for her.

 

flowers.gif And another virtual bouquet to the cats of Yulia Lunkina and Denis Medvedev. The languid way she would unfurl her legs really was feline, and you could understand exactly how she held his charming rogue in her thrall.

 

A prize to Karim Abdullin for getting Cinderella into her lost pointe shoe in record time.

 

A special mention also to the Royal Ballet School pupils who danced the children’s roles in Act 3.

 

My ears may have been playing tricks on me, but during the final bows it seemed that first Savin and then Shipulina initially got louder cheers than Obraztsova and Gudanov. But after an enormous basket of roses was brought out for Obraztsova, it was clear that the evening belonged to the princess and her prince.

 

Perhaps conscious that the audience’s demand for curtain calls was not as great as all that, Florine and the Bluebird did not get a bow before the curtain tonight, and that’s too bad, because I would have given them a cheer.

 

I watched from about a third of the way up the amphitheater, and, yes, the floor looks even worse from up there. I sat directly in front of a row of talkative North Americans. No wonder we have a lousy reputation abroad.



#89 ballet_n00b

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Posted 07 August 2013 - 10:28 PM

She also slowed down the final series of promenades to such an extent that it sapped the music of its propulsive drive.

 

This is an absolute pet peeve of mine in the Rose Adagio; the part where they get to that final tonic chord played in inversions just seems interminable in countless performances I've seen.



#90 volcanohunter

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Posted 08 August 2013 - 04:31 AM

In face of Alexandrova's unfortunate injury, the following cast changes have been made to the Bolshoi/London Schedule:

 

Sleeping Beauty: Krysanova August 8th

 

Swan Lake:  Krysanova August 10th; Shipulina August 14th

 

Flames of Paris: Osipova and Vasiliev - now dance August 17th (evening) as well as 16th
                             Lantratov will now dance with Shipulina for the 17.8 matinee in place of Volchkov.  

 

All has been gratefully updated on the Bolshoi website, but not - as usual - on the ROH's.  (Perhaps it is because ALL the tickets have been sold and this is, of course, a rental .... though they are never very quick on the draw for the Royal Ballet even when they still have seats a-begging and the productions are in-house!!)  

 

Conflicting information again, but it's possible that Krysanova will dance Flames on the evening of August 17 with Vasiliev. That's what the updated information on the ROH site indicates. At the moment the Bolshoi site has both Osipova and Krysanova dancing that performance, but clearly that's a mistake one way or the other.

 

Lantratov will not dance the Evil Genius in Swan Lake on August 15 as originally scheduled and will be replaced by Artem Belyakov. This is now also reflected on the ROH site, which, for the moment, is giving Belyakov a debut as Siegfried. That would be quite a coup for Belyakov, but it doesn't quite reflect reality. smile.png Lantratov is still scheduled to dance the Evil Genius on the evening of August 10, Emeralds on August 12 and Philippe in Flames on the matinee of August 17.




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