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About Quinten

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, balletgoer
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    Los Angeles
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  1. Maria Alexandrova

    That must have been interesting.
  2. Neumeier's Anna Karenina

    Smirnova and Ovcharenko as Anna and Vronsky on March 24 and 26, per Artem's website.
  3. Neumeier's Anna Karenina

    Ha! "Dolly"-- I get it now. *facepalm* Thanks, volcanohunter.
  4. Neumeier's Anna Karenina

    Thanks for the videos Drew. Seems to be a somewhat unsettling mix of classical ballet and experimental theatre. Shipulina posted on IG a photo of various elements of the ballet including a baby doll and sausages and confides that she will not be dancing although she had evidently been rehearsing the part. Too bad, it seems like it would be a good role for her but what do I know? Zakhrova's website says she'll be dancing all 6 performances, but I'm not taking that literally -- she may have been asked not to reveal which performances she is actually dancing in, or maybe she doesn't actually know (although that seems unlikely). I've heard that Neumeier was arriving in Moscow today so perhaps some decisions have awaited his final determination.
  5. Neumeier's Anna Karenina

    Still no casting for Anna Karenina. Zakharova of course for the first performance, but who for the other 5? Anybody have any insights? guesses?
  6. This. I love the way Sizova seems to be under enchantment, dreaming, not quite awake even as she dances. In the Tereshkina video above, she seems wide awake which I guess is just a different interpretation, but I prefer this one.
  7. Whatever complaints there may be about its "correctness", this vision scene is just beautiful. I really like seeing Lilac in shoes and carrying the pike or whatever it is, and Aurora using that for support rather than Lilac's arm. Having Aurora dance what became a Lilac variation seems to work in this version because they toned down the lower brass instruments so it's less bombastic and more appropriate for the vision of a princess. I miss the lovely variation it replaces and the music that accompanies it but oh well. These graceful and gentle nereids are a reminder to their comparatively perfunctory Bolshoi sisters that the upper body matters a lot. While Tereshkina is good here, I would so rather see the Vaganova exiles (Obraztsova, Smirnova, Stepanova) whose epaulement and grace would better match the corps behind.
  8. Love seeing these wonderful Mariinsky dancers in the Vikharev reconstruction.
  9. Yes, Kretova was quite the minx, to use an old fashioned word. That aspect was successful, however, I think the irony comes from the contrast between the knowing looks and a demure dancing style. Kretova's dancing style seems too modern and straightforward. I've been looking around the web for the "correct" style of dancing for a non-ironic version of Lully's gavotte and this might be a good example (Vorontsova in Messerer's version of Flames): Now who can add onto this some Kretova minxiness to achieve the requisite level of irony? How about Voronsova herself in this video from 2012 of the Bolshoi production?
  10. I'm not saying new faces should not be presented in the theater (although there has been a lot of criticism of that from Moscow audiences because it has been excessive during the last year). Broadcasts are another matter, imo. In balancing the "rights" of young dancers to be seen on the world stage against the "rights" of the audience to see the best Bolshoi has to offer, I come down on the side of the audience. It won't kill young dancers who are not quite ready to wait until they are, while older dancers have limited shelf lives and we may never have the opportunity to see them in the cinema if they are prematurely displaced. On the broadcast, I was delighted to see many of the younger dancers in smaller roles, like Kovalyova as a friend of Armida. Great experience and exposure for her without the weight of carrying a production. Shrainer may well turn out to be a prima some day and I look forward to seeing her as she improves and matures as a dancer.
  11. Actually, Rodkin and Stepanova were originally slated for Corsaire, but Rodkin became unavailable and Tvirsko, who replaced him, is not tall enough to partner Stepanova. Smirnova was a late replacement and ultimately, wisely, chose not to perform. The only remaining Medoras short enough to dance with Tvirsko were Nikulina and Krysanova, the latter being more ready for prime time. The problem was in choosing Tvirsko instead of Lobukhin or Volchkov, both of whom could've partnered Stepanova. But Tvirsko was to be the "flavor of the season", presumably per Vaziev's decision, so.... Well yes, if that's true, then Vaziev boxed himself in by going along with Ratmanksy to choose Krysanova, when there was another even better Juliet available. At that point he surely could've seen the problem of too much Krysanova, and as I said, it's ultimately Vaziev's theatre, not Ratmanksy's. It's Vaziev's job to cope with changing plans, for goodness sake, that's why they pay him the big bucks. He had many excellent choices for Jeanne -- Shipulina, Kretova, Obratzsova, Kosyreva. He decided that an inexperienced, one-note and exhausted Jeanne would be better. That's on him. Perhaps everybody can bring something to a role, but not everybody should be given the world stage, especially when they replace wonderful dancers with short artistic lives.
  12. Krysanova should have danced Jeanne in the broadcast; it's her role, clearly head and shoulders above any other Bolshoi Jeannes. That is not the case with the other broadcasts this season. Bolshoi has better Medoras and Juliets than Krysanova. Vaziev boxed himself in by giving Krysanova those roles earlier in the season instead of "saving" her for Flames of Paris. Perhaps Ratmansky had something to do with those choices, but it's not his theatre, it's Vaziev's. There are several interests at stake. Vaziev's interest is in building a new company and that is completely understandable. However, the audience has an equally valid interest, and that is in seeing great dancing from one of the world's premier companies. The Moscow audience pays high ticket prices and is apparently tired of seeing performances marred by a parade of newbies. The international audience is left with a false impression that the Bolshoi is not that good after all. These audiences don't care much about Vaziev's hopes and ambitions, they just want to see the Bolshoi at its best. Hopefully in the 2018-19 season Vaziev will take audience preferences more into account in his casting decisions.
  13. I'm not sure where to post my review as there are a number of Bolshoi Flames of Paris broadcast threads on the site. I'll try here. I saw the broadcast this afternoon at my local cinema on the West Coast. There was a large chunk of the "ballet within the ballet" missing -- from about midway through the pas de deux to the beginning of the male variation. Since that was my least favorite section it was not too great a loss, but even so.... The orchestra was fabulous, as usual, as was the corps. Loved the character dances -- Karasyova and Sharova were especially wonderful in the Auvergne dance. As for the main roles, Chudin (as the Marquis) and to a lesser extent Ovcharenko as the actor, were head and shoulders above the others. Oh, wait, maybe that's because they were the only principals in the cast? Turarashvili was very moving as Adeline, although she seemed somehow too large scale (not fat) for Savin -- perhaps just not a good match. Tsvirko and Schrainer were energetic, with Tvirsko showing a much greater sense of showmanship than his partner. She had pretty much the same expression on her face throughout (wide open eyes) but no major mistakes. She's very fast and may wind up giving Krysanova (the most presented ballerina) some opportunities to rest. Would need to develop some dramatic range to do that. And then there's the miscast Kretova as Mireille de Poitiers. She's an excellent technician, but this role calls for more, namely classical elegance and finesse which she totally lacks. On the screen she appeared petite, with short arms relative to her head size, or perhaps just an inability to give the impression of length, and in a role choreographed for tall ballerinas, it looked odd. The part is meant to be ironic so perhaps casting a dancer who can't dance the style was intended as to enhance the irony. I can't think of any other reason why they cast her when there are a number of other excellent Mireilles including Ovcharenko's wife Tikhomirova who got rave reviews performing it in London, or an elegant Vaganova trained dancer like Stepanova (who danced it on March 1 with the Krysanove/Lantratov cast that should have been broadcast). I just don't understand why the Bolshoi shows us casts that may be good but are obviously not the best that Bolshoi has to offer. Do they think we don't notice? Is there some sort of agenda? I just don't get it.
  14. In the Copellia trailer seen today during the Flames of Paris broadcast it looks like Anastasia Staskevich in the leading role. Not that that will necessarily happen but it's an indication.