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  2. Alyona Kovalyova Interview-Swan Lake Debut

    My favorite part of the interview is Kovaleva's reaction to the audition for the Vaganova Academy prepatory classes. Her six-year old self immediately intuited that the ballet world is a peculiar place: "When I went downstairs after the audition, some children were crying, some were joyful and I told my parents that they had accepted me. Then I told my mother that I would not attend, I said I was afraid and the people are crazy." With Chenchikova coaching her, I infer at least some Mariinsky traditions are alive and well...at the Bolshoi.
  3. Laetitia Pujol Bids Farewell To POB

    Mathilde Froustey posted the following to her Instagram account: "Yesterday the Paris Opera Ballet Principal Dancer Laetitia Pujol danced her last show. She has been one of my favorite dancer and my main inspiration since I started dancing. Laetitia was a very unique dancer, she was different, discreet and very sensitive. I'm so happy and proud I got to share the stage with her in my life but I'm sad I wasn't in Paris to share this moment with her..."
  4. Yuri Vladimirov

    Vladimirov's dancing is burned into my memory. Several of my (older) family members were going to see the Bolshoi dance a highlights program at Constitution Hall in Washington D.C. in the sixties. This was well before Kennedy Center had opened and Constitution Hall was a very poor venue for dance. I imagine that was one reason for the HIghlights program and, in any case, the Bolshoi must have wanted to be sure to perform in the U.S. capital. I wasn't supposed to go--judged way too young--but someone (possibly my mother?) couldn't use her ticket and I was allowed to go, though I believe I received several warnings about behavior (I was around 6?). Anyway, the Yuri Vladimirov/Nina Sorokina Flames of Paris was on the program and I remember being absolutely awestruck. I thought Vladimirov was actually flying through the air--I think I may even have said so (after the performance) and made sure to find out from the adults around me what/who I was watching (which is why I know). I saw Vladimirov/Sorokina do it again about 6-7 years later at Wolftrap--they were older and I was older, and I remember thinking it just looked overly muscular and effort-ful. I was more excited about seeing Gordeyev. But I probably would have a better appreciation NOW of that kind of Soviet dancing as it appeared at Wolftrap. And that first performance is STILL one of my most precious childhood memories--that was first time I saw the Bolshoi too. So, when I think Bolshoi and heroic, exciting Bolshoi male dancers, Vladimirov is a piece of the picture. The Lantratovs and Chudins of the world (and I love Chudin) belong almost to another species. I don't know what is behind Vaziev's decision in this particular case--and learning behind the scenes details about the Bolshoi is never edifying--but this definitely fits in with other changes afoot there. I hope Vladimirov finds something satisfying to do in coming years...
  5. Today
  6. New Company Roster

    Nedvigin no doubt recognized immediately that there would have to be changes to classes, training and coaching if AB was going to be able to pull off traditional ballets in a believable fashion. It's not about the basic talent of the dancers (though some take it that way) - the dancer has to have the technical training first. I doubt that audiences will see some sort of huge change in the beginning, but they will notice a different aesthetic is in place, and maybe, new found confidence in the dancing of certain kinds of ballets. Fingers crossed.
  7. 2017 Fall Season

    COMPLETELY agree. That's what matters to me too. That and musicality. I never count, just watch.
  8. 2017 Fall Season

    Thank you, Vipa, for your report of today's performance. I am pleased that Bouder was able to transform herself into the role, esp. the adagio. Yes I totally agree with you about Ullbricht, whom I loved in the jester role Tuesday evening. I think you nailed his appeal and strengths. I also have not been enamored of Veyette in a princely role. I'm glad you think Gordon has "white tight potential." I thought so too on his performance Tuesday. I'm really looking forward to Megan Fairchild's interpretation, esp. after the piece in the Times the other day. And of course, Tiler Peck. I wish I could be there for both of those evenings. I hope those of you who attend will report back in full!
  9. 2017 Fall Season

    Thanks. Sterling seems to play her as a debutante, which is totally a legit read on the role, and I suspect is the characterization Farrell initiated. But I suspect Tanny played her differently. I feel like Mearns could go either way. I thought she might be another who danced it. I'll be curious to see.
  10. What does D'Jampo mean?

    the following text was found on Google Books. f.y.i.
  11. Reviews of the first three performances, please? Helene? sandik? seattle_dancer?
  12. 2017 Fall Season

    I was at the Bouder/Veyette matinee today. Ulbricht was in for Ball as the Jester. I wish Ball well but was delighted to see Ulbricht. He's been doing this role for 15 years and may be sick to death of it, but you'd never know it. He was wonderful technically and as a character. I always find him a very warm performer and super appealing. I hadn't seen Bouder in this before and was nervous about her Odette. I needn't have been. She has transformed herself IMO when it comes to adagio movement. There was none of the quirky, staccato phrasing I was dreading. Not that I mind it (I love her Square Dance), but there was a time when that was her approach to all roles. I found her Odette quite musical, and full. Black Swan was great (1 glitch in the variation when she seemed to want to to a triple attitude turn but baled out). Fouette turns great (I'm not turn counter. To me it's bars of music to be filled with turns and the exact number of turns can legitimately vary). She started with single, single, double with swan arms, moved to single, single, double with turn arms, then a few singles and a nice finish. I think she as beautiful and tragic in the 4th act. Veyette was fine dancing and partnering. I just don't find him a very warm or princely presence. Other men (DeLuz, and Cornejo come to mind) own the stage when the walk on, and you feel their royalty. I didn't think much of Aaron Sanz in the pas de trois. His priority seemed to be showing his high arabesque. Not what I look for in a male dancer. The Divertissement pas de quatre was on the whole good. Joseph Gorden seemed a bit rushed and nervous, but he has white tight potential. The women's variations are difficult and in a way thankless. There is one challenge after another with no pay off. Brittany Pollack and Megan LeCrone handled themselves admirably. Erica Perrera less so IMO. On the whole I find the choreography a bit lacking in musicality. There is perhaps a resistance to go with the obvious phrasing but sometimes the obvious has the most emotional payoff. I'd love to hear other reactions to this and other shows.
  13. Agree completely, volcanohunter--the last thing we need is a set dwarfing jumps and lifts, as hard as dancers work. My instant reaction to the frame in this clip was 'NO.' The costumes seem to be lovely, especially those for Emeralds, and the different tiaras are interesting. Rausch looks ravishing here--wish I could see her in the role.
  14. 2017 Fall Season

    Sara Mearns also does it, I suspect she'll do the next week's La Valses as Sterling as dancing Duo Concertant in those programs.
  15. 2017 Fall Season

    Danchig-Waring and Ramasar are the two I would want to see as Siegfried. I was surprised to read he did Russian instead and really perplexed that neither has Siegfried in their rep. Any insights?
  16. 2017 Fall Season

    Does anyone currently dance the female lead in La Valse besides Sterling Hyltin? I notice on the current casting she's listed two nights in a row. Just curious. I've watched the Paris video a few times and feel like I might prefer to see someone else. Have never seen it live before, going later in the season.
  17. Neuroscience has been studying the effects of arts on the brain using brain imaging and other scientific tools- neuroaesthetics. The Washington Post has a interesting article [more expansive in the print edition?] and is on-line at: https://www.washingtonpost.com/graphics/2017/lifestyle/your-brain-on-art/?utm_term=.f40fd0892085 "Something happens when emotionally compatible music and dance combine, which is more powerful than a random combination."
  18. Yesterday
  19. Interview with Heather Watts

    There's a great long interview with Farrell on the NYPL podcast feed, some good time back I think. Very worth a listen.
  20. Building New Ballet Audiences

    What I mean by B2B is that the audience for the arts ( and I include visual arts in this) is more likely to be affluent and have business decision making authority, making the arts an attractive platform for a B2B company to reach its target audience. One of our clients ended up doing a theatre sponsorship where they funded free outdoor performances during the summer. It ended up improving the client's reputation considerably, the turn out was quite good and the theatres got quite a decent amount of inquiries about upcoming performances.
  21. Why is it called the D'Jampo dance?
  22. Why is it called the D'Jampo dance?
  23. Yuri Vladimirov

    To make room for Yuri Vasyuchenko on the coaching staff? I guess now that Dmitry Gudanov has been put out to pasture, and Denis Rodkin has switched to a different coach, Vladimirov was deemed "unnecessary." Another deplorable move from Vaziev & Co.
  24. Polina

    It has been reported in Russian press that Anastasia Shevtsova has left the Mariinsky to focus on her movie career.
  25. Behind the Scenes with Alyona Kovalyova, Rising Star at the Bolshoi Ballet http://www.vaganovatoday.com/alyona-kovalyova-bolshoi-ballet
  26. Yuri Vladimirov

    His wife posted on Facebook that he is no longer working at the theatre and it clearly wasn't his choice to leave.
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