Jump to content


This site uses cookies. By using this site, you agree to accept cookies, unless you've opted out. (US government web page with instructions to opt out: http://www.usa.gov/optout-instructions.shtml)

Yulia StepanovaWhy is she not a major star?


  • Please log in to reply
117 replies to this topic

#31 ballet_n00b

ballet_n00b

    Member

  • Member
  • PipPip
  • 57 posts

Posted 19 July 2014 - 10:02 AM

She's such a beautiful woman!



#32 Tiara

Tiara

    Senior Member

  • Inactive Member
  • PipPipPip
  • 195 posts

Posted 30 July 2014 - 01:27 AM

Since it is now only a month until Stepanova's London Odette/Odile, is anyone able to attend and report back

Yes, I am going to Yulia's rescheduled performance on 2nd August, and will report back.  There is much buzz about her here in the UK, and every poster outside the Royal Opera House is of Yulia as The Firebird, which she is performing on 11th August!  Finally, rightfully, this wonderful ballerina is getting some of the attention she deserves.   



#33 maps

maps

    Member

  • Member
  • PipPip
  • 37 posts

Posted 01 August 2014 - 07:51 AM

She's such a beautiful woman!

When I saw her in multiple performances as a Big Swan .   Imagine Stepanova doing the 16 petite developpes:

http://balletalert.i...tit-developpes/



#34 moushka

moushka

    New Member

  • New Member
  • Pip
  • 7 posts

Posted 02 August 2014 - 05:40 PM

Breathlessly awaiting Tiara's report from Stepanova's SL!



#35 Tiara

Tiara

    Senior Member

  • Inactive Member
  • PipPipPip
  • 195 posts

Posted 03 August 2014 - 06:01 AM

Yulia Stepanova's Swan Lake performance on 2nd August is the best Odette/Odile I ever saw.  I am very happy to have been there and only wish she could be filmed in this role, so that everybody could see it.    She entered to silence from the audience, but by the end of the White Swan adagio, the audience was applauding and cheering and bravo-ing.  I think never on the Covent Garden stage has there been a ballerina who has the totally instinctive and natural flow of movement and suppleness throughout her upper body and arms.  Her arms and hands were truly breathtaking and moving seamlessly and gracefully throughout.    Her expression was so moving and her natural grace and the dignity in sorrow of a swan queen shone so eloquently.  I saw her debut in St  Petersburg and told my friend then that she was the greatest Odette/Odile I have seen, and this third Swan Lake of hers was even better.  The pas de deux with Xander Parish were even more harmonious. Certainly the high lifts were beautiful, and the partnered pirouettes were better - two 5 and one 6 pirouettes amongst them.  Yulia followed Siegfried with her eyes and spoke to him through her eloquent mime so beautifully!  She acted and reacted so instinctively with Siegfried, Rothbart, her swan companions.  She truly becomes the character on stage.  Especially in the final act, the way she looked to Siegfried for protection was so moving.  I have never see the section of arabesques where she is faltering through weakness in Rothbart's presence done so well.  Her acting was amazing.   Yulia's white swan variation was just a miracle of softly flowing arms.  Her lines in arabesque were beautiful, her musicality exceptional.  All her turns are rock steady and centred.  It is impossible to believe looking at her dance that she is not a principal.  She clearly should be.

 

Odile was sensual, haughty, queenly, delighting in her wickedness and sure of her affect on Siegfried.  The variation was musical and nuanced and technically she is superb.  In the famed fouette sequence she did single single double 6 times, then singles to the end, which was a double.  They were perfect!   The final diagonale was sharp and incisive.  At the end of the act her expression when she threw the flowers straight at the hapless Siegfried was pure gleeful, malicious triumph.

 

It was a magnificent performance and Yulia's whole demeanour throughout, at her curtain calls and when she greeted her fans backstage with her gentle dignity, was what truly befits a Great Ballerina.

 

I must also mention the high jumping, glamorous Rothbart of Ermakov and also the absolutely charming and brilliant Prince's Friend of Anastasia Nikitina, who had to do a very quick change to appear as a swan in the next scene.  Also, Oksana Marchuk sparkled with her husband, Oleg Demchenko, in the Neapolitan, and Oksana also was one of the four little swans.  Anastasia Petushkova smouldered with fiery abandon in the Spanish.  Finally, the corps were on impeccable form and they are one of the glories of the Mariinsky troupe, with their uniformity of style and harmonious movements. 

 

I am so honoured and happy to have seen this great Swan Lake.



#36 moushka

moushka

    New Member

  • New Member
  • Pip
  • 7 posts

Posted 04 August 2014 - 04:57 PM

Tiara - Thank you for your thorough review. How I wish I had been there! Do you suppose any of the critics heard the buzz about Yulia? It seems that the audience appreciated her performance. I've always been so impressed with her port de bras and the incredible, almost talking suppleness of her back, on top of her marvellous technique. I've never seen anyone inhabit her character so completely that I actually forget she's performing, even though I've only ever seen her on YT.

 

Perhaps Stepanova will come to NYC one of these days and i might get to see her.The Bolshoi came to Toronto a couple of years ago (not sure that will ever happen again) but I want to see the Mariinsky so badly. 

 

Thanks again!



#37 Drew

Drew

    Platinum Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 1,313 posts

Posted 04 August 2014 - 10:46 PM

...Do you suppose any of the critics heard the buzz about Yulia? It seems that the audience appreciated her performance....

 

I have found the reviews below (I expect there may be more coming); all of them focus a great deal on Parish --for understandable reasons, but...

 

http://www.standard....ew-9645751.html

 

http://dancetabs.com...sh-cast-london/

 

http://www.theartsde...l-opera-house-0

 

Video of curtain calls in London and some footage of Stepanova at the stage door: 

 

My thanks to everyone for posting about Stepanova's performance ... I have seen her in small roles, but look forward to seeing her one day in a major role.



#38 Mathilde K

Mathilde K

    Senior Member

  • Inactive Member
  • PipPipPip
  • 195 posts

Posted 05 August 2014 - 01:38 AM

I haven't seen any nervousness: delicacy of movement is not a sign of 'nervousness', being a Coriphée is not a sign of being 'quite junior for principal roles'.



#39 Mathilde K

Mathilde K

    Senior Member

  • Inactive Member
  • PipPipPip
  • 195 posts

Posted 05 August 2014 - 07:46 AM

After Stepanova's repeat of her «Swan Lake» on July 6, for several days I couldn't find the words for what I witnessed. It finally occurred to me that I saw a preparatory sketch of a future masterpiece and that we were going to see many more such preparatory sketches, which does not detract from the joy and excitement of witnessing how they appear.

Interestingly, Sarah Crompton in a joint review of Lopatkina's and Stepanova's «Swan Lakes» says:

"her performance was full of lovely things but it felt like a sketch not an interpretation."

If by 'interpretation', one understands a finished piece, then I absolutely agree. Seeing preparatory sketches of masters is a privilege.

http://www.telegraph...-a-delight.html

Crompton, I suppose, hasn't seen Stepanova before. She is not familiar with her unusually delicate manner of dancing, and last Saturday Yulia was ethereally delicate. Seeing a newcomer dancing this way could be construed as 'nerves and a lack of confidence in her own technique'. No signs of nervousness like momentary lapses were discernible to me, however, I was sitting very close and would have caught any one of them. The performance was remarkably free from any lapses. Moreover, Stepanova is renowned for its solid and very reliable technique. Her lowly rank in the Mariinsky ballet hierarchy has nothing to do with her ballerina skills but, of course, busy newspaper critics cannot know about it.

#40 Tiara

Tiara

    Senior Member

  • Inactive Member
  • PipPipPip
  • 195 posts

Posted 06 August 2014 - 09:19 AM

I can assure you the British do appreciate delicacy, subtlety, gentleness and poetry, it seems you are casting aspersions on London audiences simply because your favourite dancer didn't get the response you hoped for.

 

Yes - I realize the British CAN appreciate delicacy, subtlety, gentleness and poetry!  I am British myself.  On this occasion, however, plainly some British critics did not, for whatever reasons.



#41 Tiara

Tiara

    Senior Member

  • Inactive Member
  • PipPipPip
  • 195 posts

Posted 06 August 2014 - 09:21 AM

Yes, I can confirm that there were certainly many cheers from the audience for Yulia's White Swan and throughout the performance.



#42 canbelto

canbelto

    Platinum Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 1,917 posts

Posted 06 August 2014 - 10:26 AM

A comparison:

 

 

and:

 

 

Stepanova barely bothers to articulate the little beats of the leg in the final moments of the adagio (at 13:20), whereas Lopatkina clearly uses her free leg and foot in a beautiful fluttering movement (at 8:05). 



#43 Mathilde K

Mathilde K

    Senior Member

  • Inactive Member
  • PipPipPip
  • 195 posts

Posted 06 August 2014 - 11:38 AM

And what is this supposed to prove? That Stepanova is not delicate, refined, or poetic?

#44 canbelto

canbelto

    Platinum Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 1,917 posts

Posted 06 August 2014 - 12:02 PM

And what is this supposed to prove? That Stepanova is not delicate, refined, or poetic?

 

No, just saying it's an iconic move in O/O that Stepanova hasn't mastered yet, so maybe criticisms of her performance aren't just out of ignorance or stupidity.



#45 Tiara

Tiara

    Senior Member

  • Inactive Member
  • PipPipPip
  • 195 posts

Posted 06 August 2014 - 12:12 PM

 

And what is this supposed to prove? That Stepanova is not delicate, refined, or poetic?

 

No, just saying it's an iconic move in O/O that Stepanova hasn't mastered yet, so maybe criticisms of her performance aren't just out of ignorance or stupidity.

 

Actually, I must say here that I have seen all three of Yulia's Swan Lakes - her debut in St Petersburg and the third one in London actually in person, and her second performance on video, and her frappes in London were better than her debut.    




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):