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Quote function didn't work properly--from Gnossie's post above--

"Cleo said
"Skorik bears no blame for what is happening at Mariinsky. She has worked hard through many challenges, and I think we have to give her credit for that. It's not her fault that she is an inexpressive dancer; she is doing the best she can with her instrument"
[...]. for years I have read how Alina Somova, a dancer I do NOT like has been trashed in this forum and never, not even once I read someone saying "she does the best she can so let's give her credit for that" why should one be kind to Skorik? ....

There is no reason for you to remember this, but actually in some of the long impassioned debates about Somova over the years people who didn't like videos of her dancing have jumped in to make comparable kinds of comments--for example, that at least they showed 'improvement' and 'hard work.' I never said that exactly, but I did, for example, once jump in to express reservations about focusing so much criticism on flaws of just one video of Somova's Aurora that had been taken quite a few years earlier. (However 'downgraded' my taste may be, I'm quite confident my memory of this is accurate :wink: .)

I tried to watch the documentary in which Skorik appears as a student, but gave up after two minutes--I found the tone very hard to take...

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Following the discussion of musicality at the Yulia Stepanova “Dancer” topic


I’ve been reminded of a fairly recent video clip of Oksana Skorik in which I find her to be more beautiful than ever in a new and different way.

Here is SFCleo’s comment from the Yulia Stepanova discussion.

“As a musician, I've always been impressed with her [Yulia Stepanova] musicality, i.e. Her ability to use the music in her dancing. To my eye, there is a sophistication in her dancing - a lack of "beatiness" -- that may be mistaken by some as not being "on" the music. Among solo musicians, it's ok to play with the beat for expressive purposes so long as you get to the down beat in time (if you are not intending to make a ritard.)”

My sense when I first saw the Oksana Skorik video was how integral she was with the aura of the performance, how totally committed she was to feeling and expressing it, being a part of it. After having read SFCleo’s comment I noticed how important her response to the music was. Even before reading this, I noticed where Oksana Skorik several times seemed to momentarily stop in the middle of the music and just let it pass through her, speak for itself.

Other things that I’ve noticed, as I have with the Yulia Stepenova video, include her working ‘around’ the music. She, and possibly Yulia Stepanova, can use one part of her body to accent one musical highlight, while another part carries the overall flow. For instance, her back stiffens to catch and suspend a highlight, while her arms flow along with the continuity. There are many other beautiful plays on the rhythm that are part of this delightful, totally immersed and magnificently absorbing interpretation.

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There is a lot of overlapping today. It’s sometimes hard to know where to post or what category to use.


Oksana Skorik, whose Swan Lake performance will now be replaced in London by Yekaterina Osmolkina, probably because of a continued injury, remains in my mind perhaps the most ‘basically' beautiful ballerina in the world. Yekaterina Osmolkina, whom London will be very fortunate to see as her replacement, is very similar in beauty and continues to develop wonderful artistry.


Olga Smirnova from the Vaganova, now at the Bolshoi, will possibly be the most famous, perhaps one of the top five most famous ballerinas ever. Yet Oksana Skorik is perhaps the most beautiful. Partially the reason for this is the direction that Olga Smirnova has chosen, that of emphasising her expression, range and search for meaning.


Alena Kovaleva, from the Vaganova and now at the Bolshoi, is also one of the most fascinating. Some posters here were fortunate enough to see the beginnings of her career in NYC about a week ago. A couple prolific NYC reviewers, one being Robert Gotlieb, were knocked sideways by what they saw. She’s perhaps the heir apparent to Oksana Skorik as the Mariinsky’s most beautiful ballerina, generations seemingly lasting for several years at the moment.  Although she’s at the Bolshoi, she may yet be the next most beautiful ‘Mariinsky’ dancer.

Edited by Buddy
typo corrections

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I've often compared Oxana Skorik to Olga Smirnova, but now my viewing is shifting somewhat to Alyona Kovalyova, the remarkable 18 year old Vaganova graduate who's just been made a Soloist at the Bolshoi. I think that they have more in common. Both are so 'lyrically' lovely.

From a very recent video clip glance, Oxana Skorik shows a poetry of expression that adds considerably to her remarkable beauty of motion. It adds another dimension that I noticed elements of  a long time ago. If she continues like this, she will have of depth of loveliness that will make her all the more remarkable. I'lll also mention her hands again. Their use is as beautiful as I've seen.

Alyona Kovalyova is more of a fresh breeze and I hope that she keeps this quality. Her beauty of motion is possibly the equal of Oxana Skorik or even Ulyana Lopatkina. 

Oxana Skorik does show a noticeable artistic maturity. If she continues as she's presently doing, she'll be even more beautiful and make a wonderful comparison to the youthful loveliness of Alyona Kovalyova.  



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