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Yulia Stepanova

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On 9/30/2017 at 9:49 AM, Fleurdelis said:

 

Not to worry. The Moscow style will be coming back in with the Vaganova newbies from now on, courtesy of Professor Tsiskaridze.

Tsiskaridze founded a committee to ensure the correct teaching of Vaganova's teaching. None of his recent graduates have taken on a Moscow style. 

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On 12/1/2017 at 7:03 AM, mtthwbrehm said:

Tsiskaridze founded a committee to ensure the correct teaching of Vaganova's teaching. None of his recent graduates have taken on a Moscow style. 

Without a committee founded by Mr. Tsiskaridze, they had no clue at Vaganova about the "correct teaching of Vaganova's teaching", no doubt.

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24 minutes ago, Quinten said:

And just to nudge this thread back to the topic....

Beautiful!  Well, for sure Yulia will not dance that variation again now she is a principal!  Dryad Queen, yes, but I can't wait to see her Kitri  

 

 

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She’s gorgeous in that video! So glad her career has skyrocketed! There are moments of her Swan Lake that stick in my brain because she was moving.

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12 hours ago, Helene said:

I love the very last dress she's wearing when she picks up the candle by the tree.

Valentino.  I want it. :)

Edited by Quinten
correction

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I could do without the birthday-cake licking, but she is unbelievably gorgeous here. Genuinely looks like a model or an old-school (yet up-to-date) movie star.

Edited by Drew

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Must say this DQ grand pas execution is not bad at all - is this from last year's Samara gala ?  Don't have anything against Stepanova - don't know the dancer well enough, will be watching. So far I only saw her live once as Medora and reported how it looked to me. Tastes and likes are so personal, someone else could have a totally different take on that same performance.

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Thank you for this video !! I had a privilege to witness some of these performances and I am deeply moved by watching them again. I feel too emotional to write something coherent, I will only say that I see around 100 performances a year, the majority from the top companies, I know their principals, soloists, the most promising young dancers, many really good ones, and I know nobody at the moment who would be more interesting, more profound, more moving, those graceful, singing lines that are so pure, those incredible hands, the ability to fill with meaning every single movement, make her for me the very essence of a Romantic ballerina, with an enormous potential to grow, I can't wait to see her in Paris, but if one does really love ballet, she is worth of traveling to Moscow, Japan, wherever you can see her performing.

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Having put the video up as soon as I found it, I'm still in the process of absorbing all that it has to offer.  A number of observations: I

It's an hour long combination of highlights of Yulia's three 2017 debuts (Le Corsaire on the Bolshoi stage, Etudes and Legend of Love) and excerpts of subsequent performances of other ballets (La Bayadere, Raymonda, and DQ).  Worth watching to the end.

Clearly, one purpose of the video was to demonstrate Yulia's fouetté skills -- examples from Etudes, LOL and Le Corsaire -- and should lay to rest any issues about them.

The video leads off with Nikiya's entrance from her second or third La Bayadere, I'm not sure which.  The striking thing here, aside from the incredible closeups and her clear command of the stage, is the amount of detail and nuance present as compared with her 2016 debut.  For example, in her debut, as the High Brahmin removes her veil, she's just looking straight ahead and lifting her eyes. The effect is just ok.  In this later version, however, you can see her looking downwards as he reaches for the veil, then lifting her head and looking up as he removes the veil.  You get that fabulous emerging beauty moment, the one I've always loved in Asylmuratova's performance.  Another example is that at the end of the variation, when she's turning backwards (wish I knew the proper terms), she starts slowly and then gradually accelerates with the music.  This was not as clear in the earlier version.  Oh, and those three progressively deeper forward bends at the beginning of the variation, also new and improved!  I love watching artists grow and develop in their roles and am so grateful for the video record that exists for this artist.  

Then Etudes, the sylph section. My goodness.  I had no idea she could dance like a sylph, but she does -- gorgeous epaulement, great style, charm.  May have fallen off point with perhaps a lack of support at one point but otherwise, just lovely.  Even Rodkin, who can be pretty self-absorbed, was almost smiling at her as she flirted with him. Very cute.

I wish there could have been more of Le Corsaire, but the full Jardin Anime seen here is certainly a gift.  This is Yulia in her element, classical, elegant, serene, feminine.  Zhiganshina as Gulnare was a perfect foil, petite by comparison, light, and maybe there's a better word but I'm thinking "perky."  The two of them share the Vaganova look and together were perfect, not a jarring note.  I would definitely have stayed in the theatre to watch this performance, which I was unable to do watching the broadcast.  Such a missed opportunity!

I am new to The Legend of Love and this was an eye-opener.  I want to see more! Here Yulia shows her incredible range both technically and emotionally in re-creating this famous character.  There is a definitely scary lift at the end, not for faint of hear ballerinas that's for sure!  I hope she gets more opportunities to develop this role and improve her performance and I really wish Bolshoi would either commit it to film or bring it to the US.

The DQ excerpt is a too-short bit of her Street Dancer showing great Kitri-like fire.

I'm not yet a connoisseur of the Raymonda dream variation so it's hard for me to evaluate.  I've kind of obsessively watched the Plisetkaya version (from when she was very young) and although I'm quite aware nobody can match Plisetskaya, Yulia's second performance at the end of this video has something of Plisetskaya about it, the way she looks down a certain points, and perhaps the accents/phrasing.  I'm going to have to watch it some more.

 

 

 

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7 hours ago, Quinten said:

I wish there could have been more of Le Corsaire, but the full Jardin Anime seen here is certainly a gift.

In terms of choreographic excelence, "Le jardin animé", was the high point, in terms of Stepanova's own dansing, the danse de caractère of the second tableau in the first act, and the classical variation in third, were the highest points of the whole spectacle, that was dansing of sublime quality, very rarely seen, none of them included in the video, unfortunately. Last year I saw it matched only by Ludmila Pagliero in her first "La sylphide" in July, in one word it was like seeing Marie Taglioni incarnate (that "La sylphide" for me was the spectacle of the year, by the way).

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6 hours ago, Laurent said:

In terms of choreographic excelence, "Le jardin animé", was the high point, in terms of Stepanova's own dansing, the danse de caractère of the second tableau in the first act, and the classical variation in third, were the highest points of the whole spectacle, that was dansing of sublime quality, very rarely seen, none of them included in the video, unfortunately. Last year I saw it matched only by Ludmila Pagliero in her first "La sylphide" in July, in one word it was like seeing Marie Taglioni incarnate (that "La sylphide" for me was the spectacle of the year, by the way).

I did not see Pagliero's La Sylphide, so cannot comment on that, but it sounds truly magical!  However, I HAVE been fortunate to see Yulia Stepanova dance numerous times over the years -  in class, in rehearsal, live on stage, in all her roles, including those  shown in the video.  I can only agree with you.  Overall, her Medora was a stupendous ballerina performance, showing as it did, not just those wonderful arms and flow of movement, but musicality, acting skills and also the purest of unflashy technical prowess.  Few so-called "ballerinas"actually deserve that title; but If ever there was a test of a ballerina's right to be called a ballerina  - then with that Medora, Yulia Stepanova passed  with the highest honours.   The only tragedy is that we could not see her as a principal dancing these roles years ago...

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