Two dancers; Two approaches to a role...
Posted 07 May 2013 - 06:03 PM
To me this illustrates two different approaches to Kitri: a traditional Mariinsky (or maybe Kirov) style and the new Mariinsky style.....
What do others think?
Posted 07 May 2013 - 08:06 PM
Posted 07 May 2013 - 09:17 PM
Skorik, wow I don't quite know what to say. I wonder if the drive to be so supremely thin robs her of energy, and the muscle needed to hold positions, give the choreography some panache, etc. She doesn't hold any of her positions with any authority. It's pretty easy to find a youtube video of this done properly.
Posted 08 May 2013 - 02:26 AM
Posted 08 May 2013 - 03:44 AM
Birdsall, it's not a matter of 'Mariinsky Style' vs any other style. It's a matter of moronic casting.
Posted 08 May 2013 - 06:17 AM
I It's a matter of moronic casting.
Couldn't agree more. Why pick Skorik at all? What about Stepanova, Batoeva, Nikitina, Marchuk, Krasnokutskaya, Petushkova, Adzhamova ... there are so many wonderful ballerinas who had the necessary speed, jump, brilliance, personality for Kitri. Skorik has none of these qualities. Nikitina has a far more brilliant technique and all the requisite qualities for a Kitri yet she has had no principal role debuts at all, or even secondary role debuts, despite being a coryphee. Why is Mariinsky management giving this one ballerina every principal role in its repertoire and then allowing her to dance it so many times? How many Odette/Odiles did she dance last season? How many other debuts in the role were there? What about the opportunities for other dancers? They must all be totally demoralized by their lack of opportunity and be wondering what on earth they must do to get roles. Why Skorik?
Posted 08 May 2013 - 07:38 AM
Posted 08 May 2013 - 08:16 AM
You have this phenomenon (doing away with the Fach system) in opera also where Cecilia Bartoli will soon have a recording of Norma out. She has already sung it in concert and will sing it also in Salzburg (I believe staged this time). This is really a jaw dropping and mindboggling case of total miscasting, but the PR claims she is going back to what Bellini intended. Well, no one can really know what he intended. As far as tradition goes, this is a potential Party Record.
And I actually like many things Bartoli has done in the past, especially her forays into obscure baroque arias.
Anyway, the topic on emploi has pros and cons of emploi. Sometimes it actually works when someone is cast against type. But other times it does not. I don't think Kondaurova would be right for Kitri, but she would at least have the spitfire personality and might actually pull it off.
Posted 08 May 2013 - 10:42 AM
...although her arm positions on the final pass were somewhat sloppy.
I didn't like either one, but Martinyuk's elbows were the most egregious violation of classical style.
Posted 08 May 2013 - 12:01 PM
Edited to add: Re watching Skorik, I realize that during the final diagonal she was as in on the verge to stop altogether, or fall....the last pirouettes were painful to watch.
Posted 08 May 2013 - 12:42 PM
Posted 09 May 2013 - 03:09 PM
As for Martinyuk, I love the way she dances Kitri. To hell with 100% perfect classical form in variations like this. I prefer an energetic, almost character approach. If the dancer is very proper, very fussy, I almost certainly won't enjoy their Kitri. The thing about Skorik is that she isn't energetic, and she isn't proper either. I can't imagine anything I'd like her in...except maybe Odette.
Posted 09 May 2013 - 05:06 PM
But I'll admit that ungainly elbows during pirouettes are a pet peeve of mine. It drives me insane in Tamara Rojo, Paloma Herrera and Gillian Murphy, too. I don't care if they do quadruple pirouettes in the process, if a dancer's arms are an afterthought, the art is diminished.
Posted 09 May 2013 - 05:26 PM
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