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Bolshoi premiere of Cranko's "Onegin"


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#46 yudi

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Posted 07 July 2013 - 10:35 AM

In fact, whether or not the Bolshoi administration was involved in this decision, I could not help wondering if the heads of the Bolshoi were not just as happy to avoid giving Halberg the opening Onegin--that is, if they might prefer not to have the company's first performance of Pushkin's iconic hero danced by the American who has been away for a year. And (speculating further), who knows? perhaps as much for his own sake as anything else. Surely critics (and god knows who else) would be waiting to pounce and quite indifferent to Hallberg's success in the role in the United States. The source material is sacred territory for Russian culture even if it's Cranko's ballet and the Stuttgart's signature. 
 

Did Zakharova select her partner for herself ?
Do prima-ballerinas or big stars at Bolshoi usually have the advantage to choose whom they want to dance with ?

 

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#47 volcanohunter

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Posted 07 July 2013 - 01:41 PM

P.S. It is now very interesting to see who will be opening the tours in London and New York. The administration will not have the excuse of 'this is the decision of the Cranko people' anymore, so they can't hide behind it no longer. Neither can Zakharova, of course, which makes both sides' positions much more difficult.

 

Here's part of the answer. The Bolshoi has just posted a video, presumably made for domestic consumption, about its forthcoming visit to London. It's all about Smirnova, which has the potential to tick off not only Zakharova, but also every other principal ballerina on the tour.

 



#48 YID

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Posted 08 July 2013 - 10:07 AM

is it a Freudian slip? Mr. Iksanov at 1:36 referred to Smirnova as a principal. (...we'll present a new rising star. it's just 2 years since she joined and has earned a distinguished position in this large company, became a prinicipal, who has the biggest future.....)... as of NOW, the Bolshoi web-site listed her as a 2nd soloist.....

about Zakharova, imho, i support her for walking out of the cluster of intrigues and too much merky waters in the company. Shame on what's happenning to the ballet in Russia, however, it's a reflection of what's happenning in the country. Money makes the (russia) world go round.



#49 volcanohunter

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Posted 08 July 2013 - 10:53 AM

It's been noted that Iksanov occasionally makes verbal slips. In a recent interview (about 1:15 in) he referred to The Pharaoh's Daughter as an opera. Unless, of course, he was using the word in its most basic meaning as a "work." innocent.gif

 

http://www.vesti.ru/... Иксанов

 

 



#50 volcanohunter

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Posted 09 July 2013 - 06:58 PM

Did Zakharova select her partner for herself ?
Do prima-ballerinas or big stars at Bolshoi usually have the advantage to choose whom they want to dance with ?

 

 

The Bolshoi's daily news dispatch today included an interview with Olga Smirnova about preparations for Onegin. She said that the Сranko repetiteurs tried different combinations of dancers before deciding which pairings would work best. She also noted that her initial partner was not ultimately cast in the ballet.

 

Hallberg arrived in Moscow late, so he would not have participated in this process, but he's danced the ballet before. It's entirely possible that Zakharova spent part of the rehearsal process learning the choreography with the Bolshoi's other Onegins, and that ultimately she was paired with Hallberg almost by default, since, as far as I know, he hasn't danced much, if at all, with the Bolshoi's other Tatianas.



#51 Renata Rodrigues

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Posted 10 July 2013 - 09:50 AM

NTV released a video with Olga and Anna during a rehearsal:

http://www.ntv.ru/novosti/629618/



#52 yudi

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Posted 10 July 2013 - 02:11 PM

The Bolshoi's daily news dispatch today included an interview with Olga Smirnova about preparations for Onegin. She said that the Сranko repetiteurs tried different combinations of dancers before deciding which pairings would work best. She also noted that her initial partner was not ultimately cast in the ballet.

 

Hallberg arrived in Moscow late, so he would not have participated in this process, but he's danced the ballet before. It's entirely possible that Zakharova spent part of the rehearsal process learning the choreography with the Bolshoi's other Onegins, and that ultimately she was paired with Hallberg almost by default, since, as far as I know, he hasn't danced much, if at all, with the Bolshoi's other Tatianas.

 

Thank you for the info. Your posts have always helped! thanks.GIF

 

On the page of Royal Ballet, the description for the role of Tatiana is "a bookish country girl into a sophisticated woman". A Bookish Tatiana in Act 1 & 2?  Maybe, Olga Smirnova is for Cranko's bookish Tatiana. IMO, THE Tatiana in opera movie Eugene Onegin (1958) is more close to Pushkin's Tatiana. Well, I am not a Russian. I cannot speak for Pushkin & Russians.

 

Anyway, the casting of Onegin at Bolshoi has made me confused and amazed. I still cannot buy Anderson's words "my main priority is that Cranko ballets are staged, rehearsed and performed accurately." I understand that he would not tolerate poor and lossy performance of Crako's ballets. But, if Bolshoi danced a better Onegin than Stuttgart, would it be accurate or not? yahoo.gif



#53 volcanohunter

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Posted 10 July 2013 - 03:36 PM

There are precedents for this sort of casting in Onegin. For example, when the National Ballet of Canada first performed the ballet in 1984, the first Tatiana was to have been Veronica Tennant, who'd been anointed by Cranko when she was still a teenager. However, when injury prevented her from dancing in the premiere, her slot went to her understudy, soloist Sabina Allemann, rather than another principal dancer learning the part, Karen Kain. Tennant would ultimately dance the ballet, sensationally, but Allemann retained her place in the company's "first" cast as long as she was with the company.

 

When the Paris Opera Ballet first performed the ballet in 2009 the first night went to Isabelle Ciaravola rather than one of the company's étoiles. Of course Ciaravola was ultimately promoted during that run, crowning a season in which she'd been heavily involved in new repertoire.

 

Age was not a factor in either case. I bristle at the notion that Zakharova, at age 34, qualifies as an aging ballerina. Tennant was 37 in 1984, and Ciaravola was 37 when she first danced Tatiana.



#54 yudi

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Posted 10 July 2013 - 10:04 PM

There are precedents for this sort of casting in Onegin. For example, when the National Ballet of Canada first performed the ballet in 1984, the first Tatiana was to have been Veronica Tennant, who'd been anointed by Cranko when she was still a teenager. However, when injury prevented her from dancing in the premiere, her slot went to her understudy, soloist Sabina Allemann, ...

I have watched a recording of NBC's complete Onegin, Sabina Allemann as Tatiana. I like Allemann's Tatiana very much. Her Tatiana is not "a bookish country girl", but a noble girl living in remote country, an innocent dreamer, with vivid imagination from reading. A bookish country girl?? I bet the Prince Gremin would not even manage to glance at Tatiana in the ball.

 

I can see that Smirnova and Allemann have very different body lines and personal traits. Smirnova's ballet skill could be batter than Allemann. But, I would like to see a great contrast between Tatiana's warm heart and Onegin's cold blood from her interpretation.

 

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#55 Cygnet

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Posted 11 July 2013 - 06:36 AM

Here's a rehearsal clip of Obraztsova with Dave Hallberg: http://www.evgeniaob...a.com/news.html



#56 Renata Rodrigues

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Posted 12 July 2013 - 01:35 PM

First video:

https://www.youtube....h?v=smjGMMUWUHY

https://www.youtube....h?v=xj7EAYERNIA



#57 Jayne

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Posted 12 July 2013 - 06:06 PM

Thank you, Lantrantov is excellent



#58 macnellie

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Posted 12 July 2013 - 07:42 PM

See tuteetuteetu for the complete ballet.

#59 volcanohunter

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Posted 12 July 2013 - 08:17 PM

As reluctant as I am to form an opinion based on You Tube, from what I've seen I have to say I'm underwhelmed. I'm accustomed to greater physical abandon in the Tatiana-Onegin duets (never expected to say a Bolshoi performance lacked a sense of physical abandon), and I do think the duet with Gremin should reflect genuine contentment and not merely poise. Perhaps the final duet was simply too slow to appear really desperate.

 

I'm hoping for better from other casts.



#60 Drew

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Posted 12 July 2013 - 08:26 PM

As reluctant as I am to form an opinion based on You Tube, from what I've seen I have to say I'm underwhelmed. I'm accustomed to greater physical abandon in the Tatiana-Onegin duets, and I do think the duet with Gremin should reflect genuine contentment and not merely poise. Perhaps the final duet was simply too slow to appear really desperate.

 

I'm hoping for better from other casts.

 

I'm a little wary of youtube as well (and not a huge Onegin fan obviously), but I watched the Act I mirror duet and Act III duet out of curiosity regarding Smirnova. In the former I thought that -- as best I could judge on youtube -- her dancing looked beautiful, but could perhaps have afforded to be less beautiful and more...well...fraught with newly discovered emotions. But I WAS very moved by the final pas de deux; I thought there it appeared she was giving herself up more to the emotions. (Raw emotion was certainly what Haydee brought to it.)




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