Olga Smirnova

[Fleurdelis]

On 2/21/2019 at 12:15 AM, volcanohunter said:

Would this mean that Kondratieva was not a great ballerina because she didn't dance bravura roles? Or conversely does this make Kristina Kretova a great ballerina? Don't misunderstand me. I like Kretova a lot. She's a good dancer and a fine actress with a broad range. The Bolshoi is lucky to have her. But she's a utility dancer. A good one. But not a great ballerina.

It means that being a one-trick pony is not a way to greatness. Dancing Nikiya the same way you dance Kitri is not greatness. Kondratieva danced many varied roles. Giselle and the Mistress of the Copper Mountain are very different roles. Range is more than just bravura or non-bravura.

I'd be happy to discuss Kovaleva and Kretova on their own threads, or I'll digress too much.

 

[Buddy]

This is a 50 minute (approx) video interview with Olga Smirnova.

“We present to you the first edition of the series of exclusive interviews "Green Living Room" after a long break.

“Press secretary of the Bolshoi Katerina Novikova spoke with the prima ballerina of the Bolshoi Olga Smirnova.”

 

(Thanks to Sophia at Dansomanie)

[volcanohunter]

No doubt that's "green room" (or greenroom).

https://en.m.wikipedia.org/wiki/Green_room

[Buddy]

1 hour ago, volcanohunter said:

No doubt that's "green room" (or greenroom).

https://en.m.wikipedia.org/wiki/Green_room

“A Cha Chonia !”   ("Greetings!" (?)) 😊

https://en.wikipedia.org/wiki/Shall_We_Dance_(1937_film)

Edited August 27, 2020 by Buddy

[Buddy]

Olga Smirnova says a lot of interesting things in the interview posted above.  One is that dancers should work one style at a time, maybe two weeks at a time. She says that she’d like to see this implemented at the school level.

She also explains that she likes to start fresh each time. She likes to take the same role and rediscover it. She mentions that historically Galina Ulanova always kept the same interpretation, whereas Maya Plisietskaya alway did it differently. I would have to add that for Galina Ulanova it probably didn’t matter, because she was so amazing anyway.

She also makes it quite clear from the beginning that she loves St. Petersburg. I sometimes wonder if the Mariinsky offered her a top position again if she’d take it, but she never implies this. In my opinion she has developed an exceptional sense of expression and drama that works very well at the Bolshoi.

Another of her expressed essentials is to be true to yourself.

 

Edited August 28, 2020 by Buddy

[Buddy]

It's my ongoing feeling that somehow the  beauty of the arts, among other things, the most important one being Love, are the source of light through societal darkness. 

In this regard, I continue to focus on this as much as possible.

It's been stated, although I've not read any direct quote from her, that she left the Bolshoi and Russia not only because of the invasion of the Ukraine, which she abhors, but also for other reasons. Some of these, I  would guess are artistic ones, which she has stated are the primary force in her life.

Did she feel a need to grow artistically beyond the Bolshoi ?  If so, why leave the Bolshoi for another ballet company, when the Bolshoi is considered by many to be the finest ? Is the Dutch National Ballet a first step in an ongoing search and development ?

In these current times, does it really matter ?

I think that it's important because she's a remarkable artist, particularly strong in Expression. She also seems to be a highly intelligent and sensitive person. I think that her ongoing choices and development, along with those of many others, could be a very fine and encouraging response to our times as well as adding a very significant growth and development to her art form.

Let's see where it all goes. Will she be another representative of beauty, hope and love for our times ?  One of many ?  Let's hope so.
 

Edited March 26, 2022 by Buddy

[Buddy]

After taking a very quick look at some Hans van Manen choreography and some descriptions of the Dutch National Ballet, I tend to see some Anna Pavlova resemblances in what Olga Smirnova has decided to do both artistically and geographically.

'Politics' were a major factor in driving them both from their home in Russia. Both were probably very ready to expand artistically as well. Anna Pavlova might have had a better chance to achieve this in Russia with the emergence of a new generation of choreographers such as Fokine. For Olga Smirnova this would seem less likely at the moment.

Anna Pavlova, as I once read, always remained a 'classicist' at heart. With Olga Smirnova this may be less the case. Both women were/are one-of-a-kind great artists. Anna Pavlova, I feel, was greatest as a transcendent. Olga Smirnova is more about human reality. They both  went beyond artistic technique, using it a method to transmit statements about greater realities and ideals. But because both were thoroughly schooled in the fineness of dance motion, this would always be part of their overall beauty.

Olga Smirnova is more likely to pursue a much more dramatic direction than an exploration of pure dance motion. She already appears less refinement oriented, and more dramatically driven. He moves tell a story, create an identity and a world.

Leaving Russia, both left behind perhaps the finest 'classical' backup support that there is, today's Mariinsky and Bolshoi. But both are such strong artistic individuals that this would probably not matter as much. The Mariinsky and Bolshoi would have enhanced their dance 'excellence,' but they both sought/seek artistic expression that goes perhaps further than this.

It will be very interesting to see where Olga Smirnova goes from here. I would imagine that she will establish an initial permanence with the Dutch National Ballet, both out of gratitude and for the learning and performing experience. She might also use it as a base for her personal development, while exploring and performing globally with other companies and individuals, which she was already doing at the Bolshoi. I don't think that she would want to be a 'prima-donna' or an artistically drive artist simply using the Dutch National Ballet as a stepping stone. I think that this would contribute to an ongoing commitment to the company in addition to a concern for her own artistic development. But, what a beautiful bird wants to do most is fly and this must always be accounted for and respected.     

 

[Buddy]

"[Interview] Olga Smirnova on leaving the Bolshoi Ballet – Everyone must deal with their conscience"

"Everything happened extremely fast. I discussed the situation in Moscow with Ted Brandsen, the artistic director of the Dutch National Ballet, and he suggested that I go to Amsterdam and join the ballet company. I didn’t anticipate this at all… it was something completely unexpected. I only took the bare essentials with me.

"My parents still haven’t realised that I’ve left. It will take time for them to accept it. But I hope they understand my choice, that’s all I can say for now.

"And after this is over?

"We will need much effort to rehabilitate Russia’s image in the world. Russian intellectuals and artists will be called upon to play a major role in this process.

"Russian culture is extraordinary and belongs to the whole world."

https://www.gramilano.com/2022/04/interview-olga-smirnova-leaving-bolshoi/
(Thanks to Jan McNulty at BalletcoForum)

Added thought:

Whereas Olga Smirnova feels that's it's the intellectuals and the artists that are so important to the future of Russia, and I would agree, it's also the 'common person.' I've met many lovely ones, as once again I've done everywhere, and they are the 'heart and soul' of a culture as well.

Edited April 3, 2022 by Buddy

[SandyMcKean]

Quote

Did she feel a need to grow artistically beyond the Bolshoi ?  If so, why leave the Bolshoi for another ballet company, when the Bolshoi is considered by many to be the finest ?

I was somewhat surprised by my reaction to this statement. First, Smirnova is my most admired dancer at the Bolshoi (BTW, I've only seen the Bolshoi in cinemas, but I rarely miss a broadcast.) Indeed, she's near the top of my list of ballet dancers in any company with just a handful of others. Of course none of us know for sure what Olga's motives are, but I have to think artistic growth is high on her list. I love the Bolshoi; their abilities blow me away, but they are far from my favorite company. Why? For all their technical abilities, I find the company lacks a deep and varied artistic soul (for lack of a better word). I want more self-expression, deep from within, to go with the impeccable training. I wonderful as I think Olga is, I feel she is a bird of paradise in a gilded cage. This move to the west may open the door of that cage and allow her to fly according to her own sensibilities. I'm greatly looking forward to the types of pieces she will be doing in 3 to 5 years. I expect her to blow my socks off. I think she's going to love free flight vs the comfort of the cage.

[Buddy]

Hi Sandy, and thanks for your comments. Perhaps I can respond somewhat when I have some more time. 

Here's an interview today with the Guardian (UK). I haven't read it yet but will post it for those who are interested. I may write some thoughts later.

https://www.theguardian.com/stage/2022/apr/05/i-couldnt-keep-it-inside-ballet-star-olga-smirnova-on-quitting-the-bolshoi-and-fleeing-russia
 

[Buddy]

The interview clarifies two points for me. She did post her condemnation of the invasion of Ukraine before she left Russia. And her husband left with her.

Here are some quotes from the article:

"Speaking via video call from Amsterdam, she explains her reason for leaving: “It did not feel safe.” Although there had been no direct threat from the authorities, she adds: “I just felt the atmosphere was tense in the country. International flights were being cancelled and there were rumours the borders would be closed, so we decided to leave. We didn’t want to risk it and wait longer.”

"She knew making such a statement would put her in the spotlight. Why did she do it? “I don’t know,” she says. “I just felt I needed to speak out. I couldn’t keep it inside. There were many artists who spoke out. I admire Russian literature. Dostoevsky and Tolstoy are my favourite writers and you learn from their example that you must speak honestly and openly.”

"Smirnova barely heard from her Bolshoi colleagues, save for a couple of “supportive and touching” messages. “People are afraid to speak out. If they don’t have any choice but to stay, they prefer not to speak out. Everyone should be able to decide what type of society they want to live in and how much freedom one needs for living.”

"She had always wanted to work internationally: she has loved working with visiting choreographers at the Bolshoi, loves the modernity of the repertoire at DNB, and dreams of dancing ballets by its resident choreographer Hans van Manen. Still, these are not the circumstances she would have chosen.

"Smirnova plans to stay in Amsterdam for the foreseeable future, having no idea what that future holds. “The company made a warm welcome for me,” she says. “I will try to do my best for them.” Whether she will be able to return to Russia is moot. “To come back to Russia, I think probably I would need to take my words back. And there’s no way I can do that. Of course I would like to see my parents, be able to go to my native St Petersburg. But the future is so uncertain now, both the country’s and my own.” "

[Buddy]

Dates of her performances.

https://www.olgasmirnovaballet.com/dates

She appeared yesterday in Naples, Italy in "Ballet for Peace: Ukrainian and Russian dancers unite in special performance"

 

[Buddy]

Instagram of Olga Smirnova recently taking a class from Andrey Klemm at the Paris Opera Ballet.

https://www.instagram.com/p/Cc3bkmAIJDz/
(Thanks to Sophia at Dansomanie) 

[Buddy]

No news yet from her site as to what she'll perform next.

https://www.olgasmirnovaballet.com

Possibly the best example of how much I like a ballet artist is whether I would get on a plane just to see this person. For years Veronika Part (formerly Mariinsky and ABT) was that person. Since I first saw her at a gala maybe ten years ago, Olga Smirnova also became that person. Why ? She's brilliant. In terms of pure dance, she's one of the the best. In terms of imagery and expression, she's perhaps the best. Her performances are almost guaranteed to be excellent and fascinating.

The Bolshoi's very young Eva Sergeyenkova is following closely in her footsteps. Having never seen her on stage, I'd certainly grab the chance.   

Another artist that I've not seen on stage and would like to very much is the Bolshoi's Alyona Kovalyova. I consider her closer to the Mariinsky's Oksana Skorik, both most noteworthy for the pure beauty of their dance.

I think that Olga Smirnova will continue to grow and expand artistically for her entire life. 
 

[Buddy]

This is an interview in french given from the Dutch National Ballet.

https://www.francetvinfo.fr/culture/spectacles/danse/installee-a-amsterdam-l-ex-star-du-bolchoi-olga-smirnova-craint-un-isolement-durable-des-danseurs-russes_5146948.html

(Thanks to Sophia at Dansomanie)

Google translator french to english:
https://translate.google.com

There's not that much new, except for her feeling that dancers in Russia are sadly being isolated from the world stages and that she hears little from folks she used to know in Russia. She says that the press in Russia at this time treats her as if she doesn't exist, but her internet site, on the other hand, which now states that she's a Principal at the Dutch National Ballet, is still posted in russian along with english (which she seems to speak quite well). 

She does add that she's feeling more and more at home in Amsterdam. From a personal reflection, Rembrandt is largely associated with Amsterdam, which has a noteworthy collection of his paintings. Yet, I've actually felt at times that his work seems more related to the 'soulful side' of being Russian than to being  Dutch, and indeed the Hermitage Museum in her hometown of Saint Petersburg, Russia, has a very large and impressive collection of his works. The world seems to move in interesting circles sometimes.

Here's one translated paragraph:

"Before the war, Smirnova was tempted by the idea of being principal dancer at the Bolshoi and guest artist at the Dutch National Ballet, in particular to discover the work of Hans van Manen, soon to be 90 years old, which will be celebrated in June at the National Opera of the Netherlands. What stage does she dream of dancing on? "The Paris Opera! I've never danced at the Palais Garnier," she smiles."

I noted in my April 29 post that she was taking class at the Paris Opera Ballet. It's interesting that she's attracted to the POB. I was expecting her to concentrate as much as possible on contemporary style for now. Mikhail Baryshnikov once said that the ideal ballet dancer would have Russian upper body perfection and the footwork of the Paris Opera Ballet. So, is she trying to improve the purity of her style, which she seemed to be moving slightly away from at the Bolshoi in developing a more expressive manner ?  I'm hoping that she'll gravitate towards a dual residency with the Dutch National Ballet and ABT because it seems like a good fit and we in the US can see much more of her. But, who knows ?  Most likely she'd like to try and to improve at -- everything -- and be everywhere.

Edited May 19, 2022 by Buddy

[Drew]

Amsterdam is a city of canals -- as is Smirnova's hometown St. Petersburg. (Though in other respects they are very different.)

Who knows where she will end up, but I imagine she will get a chance at her dream of dancing with the Paris Opera Ballet.

(She danced with ABT as a guest artist when she was very young--a performance with Muntagirov, also very young at the time.)

[Buddy]

56 minutes ago, Drew said:

Amsterdam is a city of canals -- as is Smirnova's hometown St. Petersburg. (Though in other respects they are very different.)

Who knows where she will end up, but I imagine she will get a chance at her dream of dancing with the Paris Opera Ballet.

(She danced with ABT as a guest artist when she was very young--a performance with Muntagirov, also very young at the time.)

Yes, absolutely, Drew. Thank you. How could I have overlooked this. The czar, Peter I, who instituted the construction of Saint Petersburg, secretly studied canal design in Amsterdam and later, I believe, imported Dutch engineers to help build it. My reference to Rembrandt was about a more artistic and romantic connection.

I do hope that she gets a chance to perform at the Paris Opera Ballet and anywhere else that she choses.  
 

[volcanohunter]

This video shows Smirnova rehearsing Hans van Manen's Frank Bridge Variations, a ballet that lived very briefly at the Bolshoi, although Smirnova did not dance it at the time. In the video she looks tentative about the style, but for all we know, it may have been the first day of rehearsals.

[FireDancer]

1 hour ago, volcanohunter said:

In the video she looks tentative about the style, but for all we know, it may have been the first day of rehearsals.

I'm curious- what makes it look tentative to you?

[volcanohunter]

Comparing it to performances by experienced interpreters of the ballet. They have deeper chassés, the characteristic Van Manen elbows and hands down pat, and of course the Tension of the Sexes that's always present in his double work.

[FireDancer]

11 minutes ago, volcanohunter said:

Comparing it to performances by experienced interpreters of the ballet. They have deeper chassés, the characteristic Van Manen elbows and hands down pat, and of course the Tension of the Sexes that's always present in his double work.

I would venture to say she's just learning the choreography since we can see the repetiteur show the steps, so you can't compare this video to performances... 🤷‍♀️

[volcanohunter]

Well yes, I did qualify my observation.

Dutch National Ballet dancers have little choice but to become proficient interpreters of Hans van Manen, and there is a very forward sort of confidence in Smirnova's dancing that should translate well. But it may take time.

In this older clip Alexander Zhembrovskyy, who became one of Van Manen's favorite dancers, talked about getting used to the style, and although Frank Bridge Variations is a gentler piece, the rehearsal footage here reflects the deep and broad quality of Van Manen's movement vocabulary.

[Buddy]

On 5/22/2022 at 11:16 PM, volcanohunter said:

Dutch National Ballet dancers have little choice but to become proficient interpreters of Hans van Manen, and there is a very forward sort of confidence in Smirnova's dancing that should translate well. But it may take time.

I do agree with you and thank you both for this interesting and informative discussion.

"....a very forward sort of confidence" is certainly key, for me, in everything that she does.

I've felt from the beginning, based on the little that I've seen of Hans van Manen's works, that they're another good example of successfully combining 'classical' and 'modern.' This might be what makes it so appealing to Olga Smirnova, and perhaps an essential step in her ongoing development. But, as for certain specifics and apparent overall orientation of Hans van Manen, from viewing the second video clip, I do have to say that such things as grabbing a woman by her throat as a technical manuever, are an absolute No, No !  I've also felt similarly about Jean-Christophe Maillot's "Taming of The Shrew" which Olga Smirnova has appeared in.  For me, the charm of her character was fortunately far removed from a lot of the other stuff.  
 
In addition to the importance of what both of you have expressed, I'm always watching for an overall direction for Olga Smirnova. Is she really out to master and be identified with  someone else's way of doing something or is she further developing her own artistic range, which is quite impressive.

She's so well schooled and proficient in Russian fineness and also has taken lessons and expressed a desire to make an appearance at the Paris Opera Ballet, the bastion, I believe, of perfected footwork, that it seems that she'll always be a one of a kind in regard to 'style.' I could see her performing with any company, shining with and enhancing the appearance of that company's approach, without actually being a 'purist' at it. This could certainly apply to her presence at the Dutch National Ballet.

I think of other transplanted dancers such as Nina Ananashvili and Veronika Part at ABT or Natalia Osipova at the Royal Ballet. All have been highly successful because of their own personal approach.

I can also see the day, way in the future, when any dancer's physical capabilities become more demanding, that she'll  possibly gravitate quite impressively into theater. Yet, for the moment, she remains, for me, a compelling study. She's exceptional with her refined beauty of dance and also with a more expansive range of inner expression. How she combines this could be fascinating and wonderful to see.

By the way, I already feel much the same about the Bolshoi's very young, Eva Sergeyenkova, whom I've been writing an almost identical description of at her topic.

   

 

Edited May 25, 2022 by Buddy

[Buddy]

Not much new, that I’ve found. This shows what she did in July (click back to July) and doesn’t  have anything yet for August.

https://www.olgasmirnovaballet.com/dates

In light of what I consider her very sincere and courageous actions in the past year, I really wish her the best even more than before. In terms of artistry, she has great confidence, intelligence and ability.  With these she has made very powerful and highly beautiful artistic statements. She may sense that she should learn others' methods and feelings, but I think that her real greatness could be when she’s found her own. In the same way that I’m hopeful for her, it would really seem wonderful if she could express a similar hopefulness in what she creates.

In certain respects, I think that she might even be capable of evolving the entire art form.

 

 

Edited August 3, 2022 by Buddy
typo correction

[Buddy]

On August 20 she performed again in a Gala for Ukraine. This was in Copenhagen. 

https://www.olgasmirnovaballet.com/dates

One of the participants, conductor Jonathan Brandani, had this to say.

“In moments of darkness and horror, Art is a source of light and hope, because it reminds us that a better world, where people come together in harmony to celebrate Beauty, is indeed possible. I am honored to give support to this Gala, and I hope that peace will soon shine in Ukraine.”

https://imgartists.com/news/angela-gheorghiu-and-jonathan-brandani-feature-in-ukraine-gala-concert-in-copenhagen-20-august-2022/

 

 

Edited August 30, 2022 by Buddy