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Vaganova Academy Graduation Concerts 2014


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#16 Mathilde K

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Posted 29 June 2014 - 01:19 PM

Zhiganshina and Klishina will be heading to Moscow: Zhiganshina joining the ballet troupe of Bolshoi as a soloist, Klishina — will be joining МАМТ (the Stanislavsky and Nemirovich-Danchenko Theater). Amielishko, Dementieva, Gimadieva, Guseinova and Russkikh have been chosen by Mariinsky, Rudnickaya — by Mikhailovsky, and Yalynskaya — by the Jakobson's Ballet Theatre, whereas Gagarskaya and Leontiev are heading to Eifman.



#17 Amour

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Posted 02 July 2014 - 09:34 PM

Although I didn't notice any diminishment of the Vaganova port a bras, I have to say I wasn't thrilled to hear Tsiskaridze had the students dance part of a Grigorovich ballet (Golden Age). I still think bringing him in to replace Altynai was a terrible idea that will eventually have repercussions.

#18 Mathilde K

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Posted 03 July 2014 - 01:43 PM

Tsiskaridze did not replace Asylmuratova. He replaced Dorofeeva, the lady who had no connection to ballet.

 

Grigorovich's connection to Leningrad' ballet is at least as strong as to Bolshoi: he was born in Leningrad, he graduated from the Vaganova Academy, his dancer's career was entirely on the stage of Kirov, and he was formed as a choreographer in Leningrad. His most successful choreography, not just in my opinion, was the ballet done for Kirov: «The Legend of Love» . It has stayed in the repertoire of Kirov/Mariinsky since then. Barely two days ago it was danced at Mariinsky by Lopatkina, Novikova and Ivanchenko as principals.

 

Grigorovich's «Tango» was a duet danced by 2 (two) graduating students. Compared to other pieces on a much grander scale it was a minor item in the program.



#19 ballet_n00b

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Posted 04 July 2014 - 04:04 AM

Zhiganshina is heading to Bolshoi. Amielishko, Dementieva, Gimadieva, Guseinova and Russkikh have been chosen by Mariinsky, Rudnickaya — by Mikhailovsky, and Yalynskaya — by the Jakobson's Ballet Theatre, whereas Gagarskaya and Leontiev are heading to Eifman.

 

Wow, Zhiganshina to the Bolshoi, that's a surprise!

Although, come to think of it I had read a comment to that effect on her instagram (or vk?) but I assumed it was tongue-in-cheek (my Russian's not very good).

I guess those Mariinsky performances and the holiday with Fateyev to Florida weren't enough to get her to sign on.

In any case, I wish her and the rest of them all the best for the start of their careers.

Do you happen to know where Klishina is going?



#20 Mathilde K

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Posted 04 July 2014 - 05:37 AM

Zhiganshina's decision to go to the Bolshoi for me was expected as she was offered much better conditions. Klishina will be joining МАМТ (the Stanislavsky and Nemirovich-Danchenko Theatre at Moscow).



#21 vrsfanatic

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Posted 05 July 2014 - 03:27 AM

Just a small correction, Vera Alexevna Dorofeeva had worked at Vaganova Academy for many years, as an administrator. She was a much loved persona in the Academy, who may never have studied ballet, but her job was purely administrative. She ran the business end of the school and she did it well. Asylmuratova was the Artistic Director and truly the one who needed to know ballet. Dorofeeva, and her predecessor, N. Nadirov were expected to be good business people. Having worked with and for both, I can attest, they both were excellent at their jobs at the Academy. Things may have changed since my departure from the Academy in 1995, however to describe Vera Alexeevna Dorofeeva as " the lady who had no connection to ballet" is not exactly true as she had been working her way from the bottom up at Vaganova Academy since the 1980s at least. That is a long history working with one organization. Knowing Dorofeeva I am happy to report she knew and loved ballet but showed great respect for the artist and how much they knew simply because the artist had spent a lifetime in the world of ballet.



#22 Mathilde K

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Posted 05 July 2014 - 05:14 AM

Just a small correction, Vera Alexevna Dorofeeva had worked at Vaganova Academy for many years, as an administrator. She was a much loved persona in the Academy, who may never have studied ballet, but her job was purely administrative. (...), and her predecessor, N. Nadirov were expected to be good business people.

 

Oh, yes, they were good "business" people. Both of them.

 

When Nadirov, an officer of KGB, was appointed the head of the Vaganova school in 1986, he brought Dorofeeva who, like him, had no relation to ballet.When he was leaving the school, by that time called "Academy", to become a deputy minister of Culture in 2004, he anointed trusted Dorofeeva to be the next head of the Vaganova Academy. Dorofeeva continued in the same vain, she brought to the Academy Mr. Isakov, like her not related in any way to ballet — his expertise was rather in the penitentiary system. Isakov became her deputy at the Academy and that was just a beginning of the career not only of Isakov but also of Mr. Fomkin who became a second deputy of Dorofeeva, and this "trinity" has been in charge of the Academy until Dorofeeva was sent into retirement last Fall. Fomkin was anointed by Dorofeeva to be her successor, like Dorofeeva had been earlier anointed by Nadirov. Before that happened, however, they managed to get rid of a number of people at the Academy.



#23 maps

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Posted 05 July 2014 - 07:27 AM

Zhiganshina and Klishina will be heading to Moscow: Zhiganshina joining the ballet troupe of Bolshoi as a soloist, Klishina — will be joining МАМТ (the Stanislavsky and Nemirovich-Danchenko Theater). Amielishko, Dementieva, Gimadieva, Guseinova and Russkikh have been chosen by Mariinsky, Rudnickaya — by Mikhailovsky, and Yalynskaya — by the Jakobson's Ballet Theatre, whereas Gagarskaya and Leontiev are heading to Eifman.

Will Zhiganshina be on the summer tour?



#24 vrsfanatic

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Posted 05 July 2014 - 10:11 AM

This is not really the correct forum to discuss the inner workings of Vaganova Academy from the 1980s to the present day. I will bow out of the conversation. However, I am quite aware of the history of the development of the school/Academy/Institute. Thank you for your contribution to the discussion.



#25 elianam

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Posted 05 July 2014 - 11:07 AM

Great to hear that Zhiganshina will be joining the Bolshoi. Although I lament the loss of the MT, but I've always feel that Bolshoi suits her style better, and they must already have prepared a program for her development in the company, like what happened to Olga Smirnova.

 

Does anyone here know who will be her teacher at the Bolshoi?

 

And congratulations to all the others for their jobs! flowers.gif



#26 Helene

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Posted 05 July 2014 - 12:43 PM

Agreed about Zhiganshina's style matching the Boshoi's. 

 

Maybe someone should whisper the idea of having a plan for young artists in Mr. McKenzie's ear.



#27 Mathilde K

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Posted 05 July 2014 - 05:03 PM

Great to hear that Zhiganshina will be joining the Bolshoi. Although I lament the loss of the MT, but I've always feel that Bolshoi suits her style better, and they must already have prepared a program for her development in the company, like what happened to Olga Smirnova.

 

It is hard to predict what will happen to Ksenia Zhiganshina at the Bolshoi. The whole landscape is currently changing there, eroding the unique power previously concentrated in the hands of Sergei Filin and a narrow circle around him. I don't think any kind of repetition of the "Smirnova scenario" will be possible. There was no "program" in the case of Olga to begin with, she was obviously miscast in her first "big" role. It was rather Filin's own fascination with her that gave Olga the opportunities for the development of her career that others could only dream of. Already at the Academy of Russian Ballet Olga was known to be a remarkably serious girl, a "workaholic", ready to give everything to achieve her dreams. And she also had a strong character. Those qualities proved essential in the atmosphere of the Bolshoi plagued by deep divisions and tensions within the troupe. There were times when she must have felt disoriented artistically, as was attested by contradictory patterns of her performances, but her upward drive was never diminished.

 

At the Bolshoi Ksenia will be arriving already a "professional", not an "apprentice". From now on she must be directing all her energies towards refining her technique and artistic means of expression, work on her "physique" and, of course, not miss any opportunities she may be presented with in near future.



#28 Helene

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Posted 05 July 2014 - 05:20 PM

There will never be a scenario where the AD's fascination with a given dancer will go away, nor his pushing here ahead.  Even at Paris Opera Ballet, where dancers have to pass a committee's promotion test, that speaks to nominal rank and compensation, not casting, prominence, or PR.  Add to that the fascination with new productions, and as long as AD stands back when a guest choreographer or stager casts the ballets, like Filin did when the Cranko people refused to give the premiere to Zakharova, and dancers that are not popular with management suddenly have prominence.



#29 Mathilde K

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Posted 05 July 2014 - 06:27 PM

Here is the appropriate information on the subject, Helene.

 

Вместе с тем источник «Известий» в ГАБТе отметил, что если бы дело было в решении постановщиков, балерина, «известная уважительным отношением к коллегам», с ним бы согласилась. Однако, по словам собеседника издания, балерина полагает, что художественные интересы в данном случае не главные, а постановщики поддались давлению руководства балета, пожелавшему видеть в первом составе других танцовщиков, «в данный момент особенно активно раскручиваемых».

 
My own literal translation:
 
According to the source of the «Izvestia» at the Bolshoi, if the issue was decided by the producers [from Stuttgart], the ballerina, "known for her respectful attitude towards her colleagues", would have accepted it. However, according to the source, in ballerina's judgment not the artistic interests in this case played the main role, the producers succumbed to the pressure of the ballet troupe management who desired to see in the first cast other dancers, (those who are) "at the moment singularly actively promoted".
 
Zakharova is really speaking here herself, but she prefers that she is not named. Thus, "Filin standing back", when his "singularly actively promoted" dancers are chosen while Zakharova — neither his protegé nor belonging to his inner circle — is sidelined, sounds like an oxymoron. In this case, by the way, the "management" is not just Sergei Filin alone. It is as much Dinara Timergazina. Along with the preparations for the premiere of «Onegin» in July 2013, she was also preparing the wedding of her son to Smirnova (the wedding occurred shortly after the Bolshoi returned from London). The scandal caused an earthquake at the Bolshoi. Its "nonremovable" until then director, Anatoli Iksanov, was dismissed by the minister. New director, Vladimir Urin, who replaced him, first limited powers of Filin, later in the Fall dismissed Timergazina altogether and removed the position she occupied at the theatre.
 
I agree with your comment about fascination or, at least, preferences that artistic directors always had and will have with certain dancers. That's normal and expected. The matter is in the degrees, or rather in avoiding situations when such artists become "singularly actively promoted".


#30 Helene

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Posted 05 July 2014 - 06:41 PM

Of course Zakharova felt that it was Bolshoi management's decision, a feeling that was attributed to her in this Izvestia interview with Reid Anderson, the Stuttgart's AD, who said that he made the decision, and then told Filin about his decision.  Filin did not try to overrule his decision, but I would think Anderson would be aware that there would be issues that Filin would have to deal with.

 

http://www.ismeneb.c...egin_casts.html

 

Ismene Brown translated the article into English.

 

 

At the Bolshoi Theatre there are certain traditions - in particular, that the first performance of a premiere, as a rule, will be danced by the prima ballerina and leading dancer. When you put on Cranko ballets, do you take any notice of company traditions?

 

My main priority is that Cranko's ballets should be accurately staged, rehearsed and performed. I do not take account of any hierarchy in any company. So artists have to make compromises in order to preserve the integrity of John Cranko's ballets. I have chosen artists whom I considered necessary to get the best performances of the roles. Svetlana Zakharova was among the casts. If the implication of Bolshoi Theatre traditions is that any dancer may demand to be put in the first cast or interfere with casting decisions, then no, I don't uphold this kind of tradition.  My understanding of the Bolshoi Theatre traditions - independent of the number of casts or ranking of dancers - is that absolutely everything will be danced with utmost dedication and fulfilment of their artistic potential, with absolute respect of the choreographer's vision and the very highest quality.

 

 

 

Zakharova opened up the can of worms.  As Melanie Griffiths' character said to Alec Baldwin's in Working Girl, "If you want a different answer, ask a different girl."




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