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Tereshkina! Tereshkina! Tereshkina!Raymonda from May 2012


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#1 Helene

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Posted 01 September 2013 - 05:18 PM

This compilation of Viktoria Tereshkina dancing Raymonda's solos from a May 2012 performance was posted a few days ago to YouTube, and I need to link to it now before I watch it another six times and fall into a trance:



#2 PeggyR

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Posted 01 September 2013 - 06:35 PM

Now that's what I expect from a Mariinsky ballerina.  The third variation just left me awestruck.  At 3:07 and 3:12 she did arabesque fondus that have to be the most exquisite I've ever seen.  Flawless.

 

Thank you, Helene, for remaining trance-free long enough to post this.



#3 vipa

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Posted 01 September 2013 - 06:41 PM

Such a beautiful dancer, but the music gets so distorted in sections that it becomes hard for me to watch.



#4 Birdsall

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Posted 01 September 2013 - 06:47 PM

Look at her arms and upper body. These are the "seaweed flowing" arms that I always talk about that I love in Vaganova graduates (most Mariinsky dancers). You don't see that anywhere else, in my opinion. Some people do not like that style, but I think it is gorgeous. So the upper body flows along with the body. The entire performance is great, although I believe she slips at some point (not in the variations) but I can't remember for sure, but she is definitely good. Kolegova and Novikova are also incredible Raymondas. 



#5 Jayne

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Posted 02 September 2013 - 12:07 AM

wow, just wow.  I agree that this is the level of performance expected of a Prima at Mariinsky. 

 

Somova who?  Skorik who?  All Hail Tsarina Tereshkina!



#6 vrsfanatic

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Posted 02 September 2013 - 04:06 AM

What a way to start a day! Thank you! smile.png smile.png



#7 bart

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Posted 02 September 2013 - 05:52 AM

Tereshkina!  Tereshkina! Tereshkina!

"Clarity!  Clarity!  Clarity! .... "Phrasing! Phrasing! Phrasing!"... Thank you, Helene and whoever put together this clip.
 
My only quibble is with the clapping variation.  Perhaps a little too cool and controlled  (too much hauteur?)  for my taste.  I first saw Raymonda with Sylvie Guillem, whose clapping variation -- with its sense of mystery and flow -- is widely available on the internet.  That remains my own personal gold standard for that variation, though I know it has its detractors.

#8 sandik

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Posted 02 September 2013 - 01:32 PM

Thanks so much for the link -- this is a lovely anthology of solos.  I particularly loved her adagio control at the beginning of the third solo as she rolled through her foot from pointe to plie.  It reminded me of Cynthia Gregory and her ability to use technical skill as an expressive element.

 

I had to giggle at the end, though -- as always, a matrix of other YouTube videos show up, all of them other dance videos except for Judge Judy in the upper right hand corner, looking like a member of a competition jury!



#9 AlbanyGirl

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Posted 02 September 2013 - 02:40 PM

Absolutely breathtaking. Thank you, Helene, for posting this. ~ Karen



#10 Paul Parish

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Posted 02 September 2013 - 07:39 PM

What a great ballet -- you can't lose, finding more wonderful dancers who make the part theirs in their own ways. And in SUCH different ways. Plisetskaya is awe-inspiring -- Kolpakova is equally thrilling, but in a completely different way -- and she does entrechat-quatres-to-pointe instead of changements-to-pointe in her version [so does the amazing Novikova].

 

But my favorite is Semenyaka -- the way she rotates and expands her arms from the shoulders in the clapping variation is one of the wonders of the world

http://www.youtube.c...h?v=L8pmvZIcXfQ

 

it is expansive, great-hearted, generous, and commanding all at once. The arms are parallel when the hands clap, and then as they they turn out they spiral in several planes, with a Baroque circle at the elbow, en route to second position, and when they arrive rise into a kind of "Lift up your hearts" gesture. This is a romance heroine of high imagination -- I don't know who coached her -- she worked with Ulanova, but that was probably long before this: still, there is something wonderful about her temperament and imagination that Ulanova's protetegees tended to have [Maximova, too], and I miss it in Tereshkina, strong and beautiful though she is.



#11 Helene

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Posted 02 September 2013 - 09:27 PM

The costume certainly makes a much better impression.  The Mariinsky version that Tereshkina wears looks like a tutu over a short-sleeved leotard and doesn't add much grandeur to the upper body.



#12 Drew

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Posted 02 September 2013 - 10:10 PM

 

 

But my favorite is Semenyaka -- the way she rotates and expands her arms from the shoulders in the clapping variation is one of the wonders of the world

http://www.youtube.c...h?v=L8pmvZIcXfQ

 

it is expansive, great-hearted, generous, and commanding all at once. The arms are parallel when the hands clap, and then as they they turn out they spiral in several planes, with a Baroque circle at the elbow, en route to second position, and when they arrive rise into a kind of "Lift up your hearts" gesture. This is a romance heroine of high imagination -- I don't know who coached her -- she worked with Ulanova, but that was probably long before this: still, there is something wonderful about her temperament and imagination that Ulanova's protetegees tended to have [Maximova, too], and I miss it in Tereshkina, strong and beautiful though she is.

 

I was looking at Semenyaka's final Raymonda variation (via youtube) just the other day--it's just stunning. I did also see her Raymonda w. the Bolshoi when they were on tour: I remember loving it, but honestly can't remember any details of the performance--watching the video though reminded why I have always thought she was one of the greatest I was ever lucky enough to see.

 

(Very much enjoyed the Tereshkina video, especially the second to last variation--the one in the beautiful purple tutu which is indeed rather better than the tutu she wears at her wedding.)



#13 Birdsall

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Posted 03 September 2013 - 08:35 AM

 

 

 

But my favorite is Semenyaka -- the way she rotates and expands her arms from the shoulders in the clapping variation is one of the wonders of the world

http://www.youtube.c...h?v=L8pmvZIcXfQ

 

it is expansive, great-hearted, generous, and commanding all at once. The arms are parallel when the hands clap, and then as they they turn out they spiral in several planes, with a Baroque circle at the elbow, en route to second position, and when they arrive rise into a kind of "Lift up your hearts" gesture. This is a romance heroine of high imagination -- I don't know who coached her -- she worked with Ulanova, but that was probably long before this: still, there is something wonderful about her temperament and imagination that Ulanova's protetegees tended to have [Maximova, too], and I miss it in Tereshkina, strong and beautiful though she is.

 

I was looking at Semenyaka's final Raymonda variation (via youtube) just the other day--it's just stunning. I did also see her Raymonda w. the Bolshoi when they were on tour: I remember loving it, but honestly can't remember any details of the performance--watching the video though reminded why I have always thought she was one of the greatest I was ever lucky enough to see.

 

(Very much enjoyed the Tereshkina video, especially the second to last variation--the one in the beautiful purple tutu which is indeed rather better than the tutu she wears at her wedding.)

 

Yes, I love the blue/purple tutu that Mariinsky Raymondas wear also (it seems to be blue with some and purple with other dancers and each has slight variations to the embellishments on the tutu).

     Bart



#14 Paul Parish

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Posted 03 September 2013 - 08:50 AM

Btw, I  agree, Tereshkina's fantastic in the variation where she piques forward and back -- the fondus are ravishingly soft and perfectly placed, I've never seen that one before kept so simple and pure, and yet so generous. ANd I LOVE the way she travels those changements on pointe -- she covers MOST of that diagonal, and the whole thing is full of allegria [like Patricie McBride flying across hte stage in an assemble to pointe in Balanchine's Coppellia [sp???? how DO you spell that].

 

Semenyaka's beautiful costume -o yes, it IS beautiful -- is Virsaladze's. I will never understand why people don't like his designs -- I think they're wonderful. Yes, it looks like Ivanhoe -- but it OUGHT to.... Sir Walter Scott  is responsible for la Sylphide and a whole lot of Romantic medievalism.  



#15 abatt

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Posted 03 September 2013 - 09:07 AM

What a great ballet -- you can't lose, 

 

Raymonda is a great ballet, which makes me wonder why ABT has not revived it for more than 10 years.  I'm guessing that the politically incorrect aspects of the plot may be a factor in ABT's decision. 




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