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“Who is to dance at Mariinsky?”(Merged with general discussion of the subject)


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#91 Helene

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Posted 02 August 2014 - 08:23 PM

Anyone in a position of authority could see with their eyes the kind of dancer who is cast and who goes on tours and the kind of dancers who are not and languish in the corps.  No matter what Fateev or Gergiev says or doesn't say, what is in stage speaks volumes and directly to the worldwide public, through live performances, videos, or just following the casting on the website.

 

Gergiev is not a Czar.  If the people who appoint and the governments and sponsors -- private and corporate -- who fund him don't like what they see, they can do something about it.  If they won't, then the Vaganova graduates, looking at the company, will make their choices between the Mariinsky or other companies.



#92 Mathilde K

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Posted 02 August 2014 - 11:11 PM

Anyone in a position of authority could see with their eyes the kind of dancer who is cast and who goes on tours and the kind of dancers who are not and languish in the corps.  No matter what Fateev or Gergiev say or doesn't say, what is in stage speaks volumes and directly to the worldwide public, through live performances, videos, or just following the casting on the website.


Those "in a position of authority", unfortunately, rarely care about nor have the eyes to see what's going on. Very differently from the audience: yesterday after the first White act I heard ROH balletomanes around me angrily asking "why is this girl not dancing "Apollo", why others who are bland and uninspiring are given multiple performances and not her?" They seemed to be genuinely puzzled.

#93 Birdsall

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Posted 03 August 2014 - 12:11 PM

Tiara, I am so glad you were able to go to the matinee after all. I know you were unsure whether you would get a ticket to it once they switched Stepanova's performances. One of my favorite moments in the Swan Lake love duet is when the ballerina lifts her right leg and falls backwards into Siegfried's one arm as she lowers her leg to meet the other one. I love to watch how the ballerina moves her arms after she falls. It is just a minor moment to most people, but Yulia Stepanova's arms and hands are like seaweed flowing in the ocean current. She makes that moment so beautiful, and these details are what I look for in a ballerina. It is very easy to miss, but for me it underscores how much detail has been put into her interpretation. 



#94 elena

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Posted 03 August 2014 - 12:29 PM

The translated article states at the end: "For example, the third and the most difficult variation in “The Kingdom of the Shades” is danced by Stepanova essentially flawlessly. This is why it has been selected for being recorded."

 

Does this mean they are coming out with a DVD of this ballet? I have the previous version with Komleva/Terekhova. I hope they do not choose to record Skorik as Nikiya, I can think of many others who should be preserved in this role for posterity (my ideal would be Vishneva, but failing that, I'd prefer Lopatkina). I searched to see if this was posted about but couldn't find anything, perhaps there was a problem in my search terms.

 

As far as the rest of the discussion in this thread, I think it's just very embarrassing (or should be) for the MT, to have recent top Vaganova graduates choose to go elsewhere because they are not valued at the Mariinsky. I won't say anything more, as it has been discussed pretty well already.



#95 Mathilde K

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Posted 03 August 2014 - 12:57 PM

Teryoshkina has been selected as Nikiya, Matvienko as Gamzatti. Teryoshkina - a superb technician but with little in terms of the 'image creation' ability. She has danced 40 principal parts this season (while Lopatkina has been given very little). I reached the point of oversaturation with her. Matvienko (a graduate of Kiev) bland though techically sound. I lost hope that her dancing could ever move me.

One of my favorite moments in the Swan Lake love duet is when the ballerina lifts her right leg and falls backwards into Siegfried's one arm as she lowers her leg to meet the other one. I love to watch how the ballerina moves her arms after she falls. It is just a minor moment to most people, but Yulia Stepanova's arms and hands are like seaweed flowing in the ocean current. She makes that moment so beautiful, and these details are what I look for in a ballerina. It is very easy to miss, but for me it underscores how much detail has been put into her interpretation.


That was indeed extraordinary on July 6. Yesterday Xander was a bit late catching Yulia the first time she was falling, so the image produced wasn't as ethereally beautiful.

#96 Birdsall

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Posted 03 August 2014 - 01:02 PM

The translated article states at the end: "For example, the third and the most difficult variation in “The Kingdom of the Shades” is danced by Stepanova essentially flawlessly. This is why it has been selected for being recorded."

 

Does this mean they are coming out with a DVD of this ballet? I have the previous version with Komleva/Terekhova. I hope they do not choose to record Skorik as Nikiya, I can think of many others who should be preserved in this role for posterity (my ideal would be Vishneva, but failing that, I'd prefer Lopatkina). I searched to see if this was posted about but couldn't find anything, perhaps there was a problem in my search terms.

 

As far as the rest of the discussion in this thread, I think it's just very embarrassing (or should be) for the MT, to have recent top Vaganova graduates choose to go elsewhere because they are not valued at the Mariinsky. I won't say anything more, as it has been discussed pretty well already.

Elena, 

      I was at three Bayaderes that were filmed this summer.  On July 12 Kolegova danced Nikiya with Askerov as Solor and Gergiev conducted. On July 13 and 14 both these nights Tereshkina danced Nikiya with Shklarov and Boris Gruzin conducted. All three nights cameras were filming from various angles (cameras placed in various areas around the theatre). My box had most of the seats removed due to needing to put a camera in it, so I assume they knew ahead of time and did not allow anyone to buy the seats that they removed. 

 

      In Europe the July 14th performance was telecast into movie theaters in some countries, I believe. So maybe all that filming was just for the broadcast and no dvd will emerge. 

 

     However, it seems very strange to film 3 different nights with two nights with the same exact cast and one night had different lead dancers but same supporting cast. 

 

     So I have no idea what is going on. Maybe the Kolegova night was filmed in case they needed more footage of the supporting people. I have no idea. 

 

     Originally Gergiev was slated to conduct on July 12 and 14 but not on the 13th. That was also very confusing. 

 

     Usually any ballet dvd released by the Mariinsky is conducted by Gergiev. 

 

     We might get a dvd with Kolegova and Gergiev conducting. Or we might get a dvd of Tereshkina with Gruzin conducting. Or there may never be a dvd released. 

 

     But if one is released it will probably be with either Tereshkina or Kolegova because they were the two Nikiyas that were being filmed those 3 nights. So don't worry. Skorik was not filmed. I originally assumed Tereshkina was getting a dvd of her Nikiya, but since Gergiev only conducted Kolegova, maybe she will get a dvd. If they do not release a dvd of one of those nights it seems very odd to do all that filming. 

 

     For opera lovers out there, the cameraman told me that War and Peace was also being filmed at Mariinsky II. 

     Bart



#97 Tiara

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Posted 03 August 2014 - 01:15 PM

Tiara, I am so glad you were able to go to the matinee after all. I know you were unsure whether you would get a ticket to it once they switched Stepanova's performances. One of my favorite moments in the Swan Lake love duet is when the ballerina lifts her right leg and falls backwards into Siegfried's one arm as she lowers her leg to meet the other one. I love to watch how the ballerina moves her arms after she falls. It is just a minor moment to most people, but Yulia Stepanova's arms and hands are like seaweed flowing in the ocean current. She makes that moment so beautiful, and these details are what I look for in a ballerina. It is very easy to miss, but for me it underscores how much detail has been put into her interpretation. 

Yes. it was a performance of just so many beautiful details and I was sitting near enough to the stage to be able to see all her expressions.  Completely mesmerizing!



#98 elena

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Posted 03 August 2014 - 01:32 PM

Thanks for the information all!

 

I would prefer a Lopatkina Nikiya above the others mentioned as the possible casts (if it even gets released). Oh well... Tereshkina and Kolegova are better than Skorik, so at least there's that.

 

I wonder if Lopatkina is dancing less because she is choosing to wind down her career, or because she is being given less opportunities. I would imagine she has more say than other dancers there, aside from Vishneva perhaps.



#99 alexaa1a

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Posted 12 August 2014 - 08:31 PM

With special exceptions, I do not feel that foreigners belong in Mariinsky Ballet. Their training and style is so different. Where my feelings against foreigners is most evident is when the Japanese dancer, Kumiko Ishii, is on the stage.  Her technique is too weak and her lack of sufficient Vaganova training is much too obvious. I refused to see Kampa dance Kitri, even at the cost of missing Stepanova dance Dryad.

 

For me, any dancer, who had their most important early years of ballet training, not at Vaganova, and in schools like where Kampa and Ishii trained, which are different to the Vaganova style, these dancers do not belong in Mariinsky Ballet. Dancers like Haley Schwanz who had her early training with Vaganova graduate, Angelina Armeskaya, from the Children of Theatrer Street movie, at the Washington Kirov Academy, fit in well at Vaganova and would have fit in at Mariinsky because her early training years were in the proper Vaganova style. Vaganova has great teachers in SPB, but they cannot break the bad habits brought up from improper training in the early years and Haley Schwanz had the proper training and would have been a wonderful Vaganova style ballerina at Mariinsky, but she joined Malakov's Berlin Ballet.



#100 alexaa1a

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Posted 12 August 2014 - 09:03 PM

Unfortunately, Vaganova needs foreign money because it is no longer the Soviet Union where the Soviet government supported Vaganova. Now Vaganova needs the foreign money. However, Vaganova does not currently allow foreign students to enter in first year, so dancers not going to Kirov Academy in Washington or anything similar, are at a serious disadvantage.

 

Even Kirov Academy has changed drastically for the worse since now many current teachers are not Vaganova graduates and are training their students very different to the Vaganova style. When Vinogradov started the Kirov Academy it was like the SPB Vaganova school with Vaganova graduates teaching, but now there are German teachers brought up in Germany, who know nothing about the Vaganova style and they are not training their students in the Vaganova style. The Kirov Academy does have some Vaganova grads teaching, but it no longer is 100% Vaganova grad teachers.



#101 Mashinka

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Posted 13 August 2014 - 01:21 AM

I feel uncomfortable reading the xenophobic comments being posted here and I wonder what exactly constitutes 'foreign' now that the old Soviet Union has split into a number of independent countries.  I know nothing about the background of Kimin Kim, but I am aware that in the old Soviet Union there was a sizeable minority of ethnic Koreans.  Would there now be no place for Kazak Asylmuratova,  Georgian Nioradze or Austrian Baimuradov for example?

 

Ballet is an international art and talent shouldn't be restricted to where someone was born.  



#102 Helene

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Posted 13 August 2014 - 08:08 AM

I feel uncomfortable reading the xenophobic comments being posted here and I wonder what exactly constitutes 'foreign' now that the old Soviet Union has split into a number of independent countries.  I know nothing about the background of Kimin Kim, but I am aware that in the old Soviet Union there was a sizeable minority of ethnic Koreans.  Would there now be no place for Kazak Asylmuratova,  Georgian Nioradze or Austrian Baimuradov for example?

 

Ballet is an international art and talent shouldn't be restricted to where someone was born.  

If you read the original post, and not even all that carefully, you'll see the distinction made is between the dancers trained by Vaganova teachers in the Vaganova style, and those who haven't, not where they are born or their ethnicity or even in what country the school is located.  Whether you agree is another story.



#103 Mashinka

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Posted 13 August 2014 - 02:30 PM

In post 99* it clearly says that foreigners don't belong in the Kirov.  There was nothing ambiguous about it.

 

[Admin note:  edited to reflect the post number in the merged topic]



#104 Helene

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Posted 13 August 2014 - 02:36 PM

At the end of post 99, the poster makes it clear that the issue is training, which is discussed further in post 100. 

 

Edited to add:

 

Dancers who are not trained in a company style but join the company are hotly debated no matter what the company.



#105 Helene

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Posted 13 August 2014 - 10:46 PM

 

But first, what is the official source showing that Gergiev is making personal efforts to get sponsorship for the theatre?

 

Here is a sampling of articles in the Western press and pravda.ru that refer to Gergiev's fundraising activities:

 

http://www.cbc.ca/ne...great-1.1241708
http://english.pravd...ev_mariinsky-0/
http://www.enca.com/...ersburg-theatre
http://www.mariinsky...t-long-history/
http://www.colineato...ry-gergiev.html
http://www.thinkruss...is-love-theater
http://www.ottawacom...vy-for-gergiev/
http://minnesota.pub...arizing-maestro
http://www.arabtimes...ge/Default.aspx
http://seenandheard-...erful-parsifal/
http://www.theguardi...lmusicandopera2
http://www.gmn.com/a...io=true&id=1008
http://alb.merlinone...imageid=6387702

 

The Mariinsky Theatre Trust (UK) was established by Gergiev, as was the Mariinsky Foundation of America (formerly White Nights Foundation of America.)




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