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Kirov in New York Continued -- Swan Lake

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#16 rg


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Posted 15 July 2002 - 10:01 AM

dept of further clarification:
a program printing mix-up re: swan lake casting somehow had Dmitri Zavalishin confused w/ the dancer performing the jester. for the record, according to a correction in the sat. program following the uncorrected thurs. 11 july prog. rothbart was performed by Dmitri Zavalishin (he of the long legs, long face, long nose) and the jester was danced on thurs. 11 jul. by Andre Ivanov; on 13 jul. mat it was zavalishin, again as rothbart and Kiril Simonov as the jester. (i assume zavalishin did rothbart again at the eve. perf. but i can't say for sure as i was not in attendance.)

#17 Juliet


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Posted 15 July 2002 - 01:36 PM

Ivanov was Jester on Saturday night, Zavalishin did the Rothbarts (speaking of emploi--there are perfect examples!)

#18 Manhattnik


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Posted 15 July 2002 - 01:55 PM

I remember reading the program insert Saturday night, which seemed to indicate that Ivanov and Zavalishin were simply changing roles. Which seemed very odd to me, having a short Rothbart and a long and lean Jester. But when the curtain went up and the Jester was the same person who'd done it Thursday night, I suddenly realized that the insert was simply correcting an error in the program.

Now if only they'd post some updated casting!!

#19 Saveta



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Posted 15 July 2002 - 09:13 PM

I traveled to NYC to see Kirov. It was my first time to actually see it perform alive and for me seeing this company was high number on my 'life's to do list' (as it was said in one of those Master Card commercials). So, I definitely wanted to love everything and to like every dancer. (And I did love many of things I have seen.)
The performances I saw were La Bayadére on Friday night and S. Lake on Sat. evening.
In particular I wanted to see Vishneva (she seemed interesting on photographs to me) or Aypova (whom I adore since I saw her on tape of Swan Lake- doing Pas de Trois). Due to some change in casting, I got to see one of them, Visneva in La Bayadere. To me she is very charismatic and has wonderful presence on stage. But, I couldn't get over extreme arching of her back and expressing almost every emotion with sticking her ribcage so far out. Of course, her infamous leg extensions were distracting to me, especially in developées a la seconde, which were every time ruining her placement. However, my other impressions are that she turns heavenly and jumps very beautifully. I can see that she must be wonderful as Kitri or in Rubies.
Fadeyev as Solor had shown beautiful technique (imo.) but I wished to see more depth to his character. Of all main characters, Tarasova to me was probably the most nuanced in her characterization of Gamzatti. She truly showed all emotions that are involved, and showed that Gamzatti was more complex then some stereotypical "bad girl". As many mentioned already, her dancing was of very high standard.
The production itself I thought was very lovely, but I kind of new what to expect (funky looking animals, etc- before I left, I read some reviews here and they helped me imagine the production ). I am agreeing with most things said already about details of it.
Of course, whatever you may read or hear, nothing can prepare you for the beauty of Kingdom of the Shades in this production. The set design, costumes and design of light are just magical. In other productions that I'm familiar with, Kingdom of the Shades seemed in colder colors, snow-white tutus and sets with lot of dark blue, similar to second act of S.Lake (I never saw Paris Opera production, which I'm sure also looks stunning) Well, this Kirov production was just unbelievable, with dark grey hills/caves and mauve sky in a background, and shades appearing behind those caves in those wonderful off-white, almost eggshell color tutus. It seemed like each one of them (Shades) was individually lit by some wonderful, warm light. Now, imagine all of those elements together with dancing of the Kirov corps, and you could feel like you were dreaming yourself.
The other night was equally interesting. Production of Swan L. that Kirov does, I already know from video tapes. I like it, the ending is silly, ok, but the rest of the production is I think beautiful. I also saw Gumerova, but I have mixed feelings about her. I really wish she works on softening of her upper body and port de bras and I hope that she'll get better in time with her characterization. I had feeling that she was most relaxed and enjoying herself in IV act, as if she maybe was too nervous about her fouetées earlier.
Overall, I did love her sense of pull-up and musicality, beautiful subtle frazing, especially (as Juliet already mentioned) in use of her wonderful legs. I also loved how she was taking her time, not rushing anything.
Igor Kolb was very good, but somehow not stellar that evening. I'm sure that it wasn't his best night.
On both evenings, I was very impressed with Irina Golub. She was dancing in pas de trois in S.Lake and first Shade variation in La Bayadere. I'm looking forward to seeing how she'll develop in the future.
Overall, I enjoyed myself immensely, even though I felt that some things could be improved (as I'm sure many of them eventually will). And every time I thought of something that I maybe didn't like, it always popped in my head: who cares, I'm actually watching Kirov!


#20 Alexandra


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Posted 16 July 2002 - 06:38 AM

Thanks for that, Saveta (thanks to all, of course, but this was a First Time at the Kirov post and I thought deserved special mention :) ) I think you've caught what happens when we realize a long-held dream: we may quibble, but, on balance, it's just wonderful to be able to see it.

#21 balletstar18



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Posted 20 July 2002 - 09:00 PM

I am so amazed by the corps. they are always doing exactly the same thing at the same time, no stray arms or a head looking the wrong way or anything. It's amazing. I guess they've all been dancing together for many years in the vaganova academy. And they've all had the same training, so there are no old habits to break. But it's still amazing to me that so many people can do exactly the same thing at the same time, and be so good at it. i loved seeing all the high arabasques, all so high, and the same height on everyone. It's very inspiring for those of us at summer intensives working endlessly on technique. I've really loved watching people that have truely acheived the ideal that I am working toward.

#22 Dale


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Posted 21 July 2002 - 07:45 AM

Veronika Part took over the lead role in Swan Lake on Saturday afternoon, dancing with the busy Danila Korsuntsev. What a lovely dancer... she's not obviously grand such as Zakharova, but she's so smooth and plush. She also brought the tragedy I thought was missing from SZ's performance, maybe -- just a little bit -- going a mite overboard with anguished looks. However, I did appreciate the little looks she gave Korsuntsev and how she showed the fight within herself to break from him to avoid the danger ahead. At one point during the adagio, she pulled away from him, shook her head, "no," only to be drawn back to his loving arms. And, although her legs moved freely on high, she never made her extentions the point or the climax of the dance.

As Odile, she was softly seductive and let the audience in on her duplicitious triumph. I thought her variation was rock solid, although (maybe I'm wrong) she made too much of a pause in preparation to some of her turns. Her fouettés got off to a rocky start, but she began to crank them out pretty good --alternating singles and doubles. I'm not crazy about singles/doubles in Swan Lake, they should probably be all singles -- just my opinion. Not a big deal, though.

As has been the case during the entire run, the corps was wonderful. Manhattnik is right, it's really is as if they've got a magnetic force pulling their limbs to all the right positions -- perfect every time.

#23 Leigh Witchel

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Posted 24 August 2002 - 07:57 PM

Apologies for it only taking seven weeks to get around to saying something about this performance ;)

What I was most struck by about the performance I saw (Thurs eve, 7/11 Zakharova/Korsuntsev) was the characterization Korsuntsev gave to Siegfried. Someone asked me what I thought of him at intermission, and I could only think, "Watta guy." I'm sure they are out there, but this is my first "watta guy" Siegfried; robust, well-adjusted and essentially happy, and it made no sense with my own conceptions of Swan Lake, but they all involve the original tragic ending. I wonder how much it had to do with Korsuntsev's acting abilities or characterization and how much it had to do with the Sergeyev conception of the entire ballet.

This is my first Soviet Swan Lake with a happy ending, and it felt like Siegfried's character had to be reverse-engineered from the politically decreed finale. There's no need to cast a prince with the seeds of tragedy in him because there is no tragedy. Korsuntsev was not aristocratic in demeanor either, and I wonder if this is also a result of a political history; a people's prince to smooth out the anathema of the hierarchy of a court. As Alexandra has mentioned on earlier discussions on emploi, Soviet employ slowly shifted so that leading men were no longer classiques or nobles; a new type of "heroic" lead came into play. I really felt that at the end of the Sergeyev Swan Lake, where I just felt that even if it broke period, Siegfried and Odette ought to have exited triumphantly on a tractor.

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