Ballet lovers Posted February 18, 2005 Share Posted February 18, 2005 On the Tchaikovsky Festival, it can't lack the most famous and beautiful of his ballet. Besides, for many years " Swan Lake" was the "visit-card" of the Mariinsky Ballet and, fortunately, even now the ballet troupe seems to keep this fame and tradition. We only hope that any Serghei Vikharev or other insignificant and mediocre choreographers like him, will never massacre this beautiful version that has maked " holy" the russian ballet wordwide. ACT ONE: The corps de ballet was really very clean and precise. The male one also cause often is worse than female. We have distinguished especially Denis Firsov, Maksim Khrebtov and Mikhail Lobukhin for their good presenting and nice " actor-work". Elena Bazhenova like the "Queen" was nice and elegant. The Pas-de-trois ( Daria Sukharukova, Ekaterina Osmolkina and Vassili Scherbakov ) was danced good generally. Sukharukova danced for the first time and she was not very clean especially on the end of her variation. Scherbakov has changed the first part of the original choreography of the male variation, maybe because it is difficult for him now. In fact it seems he is not in a completely good form : he has often very stiff arms and neck and he is not very accurated. Besides, his hair-do like Antonio Banderas was irritating and not in the right style. Osmolkina danced good and strong her variation. Danil Korsuntzev seemed everytime to take a rest during this act : only nice poses almost omitting the dancing pieces. That is why maybe, in his "monologue" ,he was not clean and it seemed he had not enough " warm-up". Perhaps he is bored to dance this role everytime. Grigori Popov has improved his " Chout". He danced very well except of the final " grand-piroettes" where he almost fall down. Second scene ( Swan scene ) : This scene was absolutly beautiful ! The corps de ballet of the "swans" was perfect as if it was drawed by a great painter : beautiful legs and feet, wonderful lines and mouvements. Excellent the "little" and " big" swans. Only Alexandra Yosifidi, the biggest swan, was untiaesthetic. It seems everytime she could touch the sky with her head ! Alina Somova has good capability maybe for the future but she is categorically not ready to dance this kind of roles yet ! Her "Odette" is rude and immature and absolutly not touching. We can't understand why Somova dance main roles at all ! Maybe only because she is Olga Cencikova's pupil. Cencikova was a very technique ballerina but also very ugly, with square shoulders like a wardrobe, no neck and without feminility. It is really incredible how Somova looks like her ! ( even if Somova has at least a nice and capable body ) . ACT TWO: The corps was very nice and clean again. All the character dances were very good. We like very much the "spanish dance" ( G. Rakhmanova, Ti En Riu, I.Baimuradov, F. Lopukhov ) , A. Yakovlev and K. Dubrovina in the "hungary dance", E. Obrastzova and A. Kulikov in the " Napoletan dance". G. Popov was very good in this act. The "Odile" of Somova was terrible ! No technique, no sensuality , not any actor play. Her " fouettes" were awful and we thought she fall down soon but , fortunately, she was not. Korsuntzev danced well but with some uncertainty in his variation. ACT THREE: The corps de ballet was beautiful, Somova was poor and extinguished at all and the unlucky but brave Korsuntzev has seen her to the end of her calvary. Link to comment
Thalictum Posted February 19, 2005 Share Posted February 19, 2005 Ballet Lovers, Scherbakov did not change the opening of the man's variation; it was changed by the Kirov management in 2002, after both Dmitri Simeonov and Anton Korsakov were injured in the opening section. Korsakov has now re-choreographed the variation almost entirely to suit his style and capacities. Scherbakov has no power to change a single step. When I last saw Scherbakov dance the Pas de Trois a year ago he was giving the best performance of this I have seen since Alexander Lunev twenty years ago: extraordinary ballon, batterie and elevation, perfectly centered pirouettes, nearly perfectly centered saut de basques, and enormous swinging scissones, with beautiful phrasing and subtleties of epaulement. So if what you're saying is correct, it is disturbing. Perhaps the company has finally suceeded in destroying his equilibrium. Perhaps the latest humiliation, watching the rookie Skylarov debut Sunday night as Desire, a role he has rehearsed for two years, has been too much for him. On the other hand, perhaps we do not have the same taste at all. Sometimes Scherbakov's arms are a little stiff and "Balanchinian" (But not as Albrecht.) This is part of his style but not everyone will like it. But I can't imagine him ever having a stiff neck because his epaulement is one of the most fluid and articulate in this company. I also think Iosifidi is extraordinarily compelling as a Big Swan. I do not ask for compete uniformity of height among the Big Swans. And I completely disagree with you about the value of Vikharev's work. But I DO agree with you about Samova!! Link to comment
Marc Haegeman Posted February 19, 2005 Share Posted February 19, 2005 Thanks Ballet lovers for the impressions. Sounds like a wonderful night out . However, I can't agree with some of your statements. Think of Olga Chenchikova what you like as a repetiteur, but to write her off as an ugly, technical ballerina is a far too superficial presentation of the facts. She was above all a great classicist with an amazing knowledge of the plastique required for each piece she performed. If only the Mariinsky would have somebody with her qualities now. And I also have to echo Thalictum about Vikharev. As you can tell yourself, nothing was "massacred" in the end. The "holy" soviet versions of "Bayaderka" and "Beauty" were not thrown out for Vikharev's versions, they are even returning to the repertory. Link to comment
Ballet lovers Posted February 19, 2005 Author Share Posted February 19, 2005 Hi Thalictum, you have the completely right disagree with us because anyone has the own taste and this is not debatable. In any case we trying everytime to be sincere as most as we can when we write our reviews. Scherbakov has proved many times that he is a good dancer. We remembered very good performances of him like "Scotch Symphony" or " La Sylphide" in the past for exemple. The last night he danced not bad but not really nice and amazing. Maybe because he was tired or because , how you have written, he was not in a good mood. This can happen with any dancer ! We would not think that the ballet direction has really destroied his equilibrium how they did with many other good dancers. In any case we are sure you know that the theatre's life is like in a jungle, it is very hard everywhere unfortunately, and only very psycological strong people can live and stand all the humiliations. So let's wish to Vassili Scherbakov don't fall in depression and to show himself in his most dazzling form everytime. The fact that the Kirov management or the single dancers have changed the opening of the man's variation, is absolutly inconceivable and unpardonable. We know that the first part of this variation is very difficult and not "confortable" but we never seen in the past nobody who has re-choreographed this variation to suit the own possibilities. Whole dancers generations have danced this variation without any problem or injury, why now they can't ? If somebody is not be able to dance the original choreography, is better don't dance at all ! Link to comment
Ballet lovers Posted February 19, 2005 Author Share Posted February 19, 2005 Thanks Ballet lovers for the impressions. Sounds like a wonderful night out . However, I can't agree with some of your statements. Think of Olga Chenchikova what you like as a repetiteur, but to write her off as an ugly, technical ballerina is a far too superficial presentation of the facts. She was above all a great classicist with an amazing knowledge of the plastique required for each piece she performed. If only the Mariinsky would have somebody with her qualities now. And I also have to echo Thalictum about Vikharev. As you can tell yourself, nothing was "massacred" in the end. The "holy" soviet versions of "Bayaderka" and "Beauty" were not thrown out for Vikharev's versions, they are even returning to the repertory. <{POST_SNAPBACK}> Thanks Marc for your opinions, we have really appreciated ! Sorry about Olga Chenchicova that you like so much but we think that, also in her generation , there were much more interesting and nice ballerinas with the same, large repertory of her : Lubov Kunakova, Galina Mesenzeva, Valentina Ganibalova or the youngnest Altinai Assylmuratova and Yulia Makhalina . But of course it depends of the own tastes. Chenchikova was a great ballerina with a large repertory but not really so nice and charming how the others we have mentioned maybe for her specific proportions. We remember for exemple when she danced Balanchine's " Theme and Variations " or Petit's " Notre-Dame de Paris" where she was absolutly difficult to accept. In any case she was amazing in technician roles like Kitri or Medora. This is just our opinion. It is really a big fate's present that the Vikharev's versions of the " Beauty" and " Bayadere" are not in the repertory now. We were so happy when we have known about it ! Perhaps the bad reactions of the audiences and the terrible reviews everywhere have contributed to remove them. Praise be to God !!! Link to comment
Thalictum Posted February 19, 2005 Share Posted February 19, 2005 This has been a lively, refreshingly no-punches-pullled discussion! Link to comment
Natalia Posted February 21, 2005 Share Posted February 21, 2005 Whoa, 'boys'! I get sick for two days & look at what happens. Behave, please. It appears that Somova's Swan has not improved since I saw it at the last White Nights. As for memories of Chenchikova...I remember her Swan at Wolf Trap-DC fondly. She was quite striking; not a classic 'angelic' femininity but lovely in her own way. Just my opinion. Link to comment
Helene Posted February 21, 2005 Share Posted February 21, 2005 She was quite striking; not a classic 'angelic' femininity but lovely in her own way. Just my opinion. Chenchikova was in the broadcast performance of Swan Lake from Wolf Trap, and I remember liking her performance very much. Unfortunately, I had a Beta recording, and my Beta collection disintegrated before I could get it transferred to VHS. Link to comment
carbro Posted February 21, 2005 Share Posted February 21, 2005 I attended a Chenchikova SL at WolfTrap -- may well have been the telecast perf, but I don't remember for sure. I found her to be more athletic than lyrical, not the kind of dancer I prefer in Swan Lake. Her qualities worked better in Paquita. Link to comment
Thalictum Posted February 21, 2005 Share Posted February 21, 2005 Without a powerful coach at the Kirov you are in Siberia -- with a powerful coach like Chenchikova you can go very, very far. But I spoke to other people who were there, and 18-year-old Samova should not be dancing Odette/Odile at this point in her career. Her Corsaire in Washington was enough to tell us that already. Link to comment
Cygnet Posted February 22, 2005 Share Posted February 22, 2005 I remember seeing Tchyentchikova live 20 years ago in SL and taped her Wolf Trap SL two weeks later. I thought she was wonderful. Her Odette wasn't delicate; she was of the heroic mode. Her Odile was technically magnificent and overpowered her Odette IMO. Her Swan Queen was truly a queen, not a princess, and her presence dominated the corps. Still, I think her greatest role was the lead in Paquita. RE her coaching abilities, I think Plisetskaya said it best (and I'm paraphrasing): " . . . Some ballerinas are great dancers, and not necessarily good teachers; and for others the reverse is true. She (M. Semyonova), shines equally in both areas." I guess with the exception of Vishneva, the former is true of Olga rather than the latter. Link to comment
Natalia Posted February 22, 2005 Share Posted February 22, 2005 Plisetskaya said it best (and I'm paraphrasing): " . . . Some ballerinas are great dancers, and not necessarily good teachers; and for others the reverse is true. She (M. Semyonova), shines equally in both areas." I guess with the exception of Vishneva, the former is true of Olga rather than the latter. <{POST_SNAPBACK}> Right. re. Vishneva, I believe that she goes back to her beloved academy teacher, Ludmilla Kovaleva, for refreshing from time to time. Can anyone tell me who, beside the up-and-coming Julia Bolshakova, is currently coached by Tatyana Terekhova? Among the very, very young dancers (graduates within the last two years), Bolshakova impressed me the most for seeming to possess both technique & 'soul'. If I were trying to show Gergiev a most-likely-successor to Lopatkina in lyrico-tragic roles, I'd look to Bolshakova, rather than Somova or the matchstick-thin Vostrotina. [Not that any of the current corps girls can compare to Lopatkina at her best. That sort of gem comes around once every 40-50 years, IMO. How can Gergiev or anyone else 'demand' a Lopatkina clone in every class?] Link to comment
Marc Haegeman Posted February 22, 2005 Share Posted February 22, 2005 re. Vishneva, I believe that she goes back to her beloved academy teacher, Ludmilla Kovaleva, for refreshing from time to time. <{POST_SNAPBACK}> Quite so. I wouldn't overestimate Chenchikova's contribution in that case either. For my money OG scored the best results with Maya Dumchenko. Link to comment
Thalictum Posted February 22, 2005 Share Posted February 22, 2005 Elena Tchernichova has also been coaching Vishneva in Berlin. Is Chenchikova still Dumchenko's coach? What's your take on Vostrontina, Natalia? Link to comment
Natalia Posted February 22, 2005 Share Posted February 22, 2005 What's your take on Vostrontina, Natalia? <{POST_SNAPBACK}> Vostrotina has, on the whole, lots more potential than does Somova. She is taller & -- if it can be imagined -- even thinner than Somova. However, she has naturally 'rounder' leg musculature (the curves that we so admire in Svetlana Zakharova), a stronger back & much more angelic (classic-looking) face than does Somova. Vostrotina's instrument is a [long & sleek] Stradivarius violin, compared to Somova's kazoo. Unfortunately, Vostrotina's debut in 'Swan Lake' last summer was almost as inauspicious than that of Somova, a month earlier. Neither girl was ready for the part. In Vostrotina, I see some hope for the future, though. I enjoyed Vostrotina's performance in the 'La Valse' trio of tall girls. Link to comment
Marc Haegeman Posted February 23, 2005 Share Posted February 23, 2005 Can anyone tell me who, beside the up-and-coming Julia Bolshakova, is currently coached by Tatyana Terekhova? Among the very, very young dancers (graduates within the last two years), Bolshakova impressed me the most for seeming to possess both technique & 'soul'. If I were trying to show Gergiev a most-likely-successor to Lopatkina in lyrico-tragic roles, I'd look to Bolshakova, rather than Somova or the matchstick-thin Vostrotina. [Not that any of the current corps girls can compare to Lopatkina at her best. That sort of gem comes around once every 40-50 years, IMO. How can Gergiev or anyone else 'demand' a Lopatkina clone in every class?] <{POST_SNAPBACK}> Maya Dumchenko is now coached by Terekhova. Link to comment
Natalia Posted February 23, 2005 Share Posted February 23, 2005 Maya Dumchenko is now coached by Terekhova. <{POST_SNAPBACK}> Thanks, Marc. No wonder that her recent performances (Juliet, Bakh Fontan) have garnered such poetic reviews from fans! Unfortunately, Dumchenko danced very little during my last stretch of time living in Russia, mostly due to her maternity leave. I haven't seen her 'live' in years. Link to comment
Marc Haegeman Posted February 23, 2005 Share Posted February 23, 2005 Maya Dumchenko is now coached by Terekhova. <{POST_SNAPBACK}> Thanks, Marc. No wonder that her recent performances (Juliet, Bakh Fontan) have garnered such poetic reviews from fans! Unfortunately, Dumchenko danced very little during my last stretch of time living in Russia, mostly due to her maternity leave. I haven't seen her 'live' in years. <{POST_SNAPBACK}> I gather she started working with Terekhova since her maternity leave. Link to comment
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