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The Bolshoi under Vaziev

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"Get a room quality"?  I'd call it chemistry. makes a change from those dancers that barely acknowledge their partners.

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22 hours ago, volcanohunter said:

There is a "get a room!" quality to Alexandrova's performances with Lantratov that I think would be distracting in Sleeping Beauty. However, later this week audiences in Perm will get the opportunity to see it.

https://permopera.ru/playbills/playbill/79831/

Would love to overcome the logistics and see ballet in Perm. Osipova also guests there, danced Juliet twice last season. Will try connecting via Spb next season. Can't visualise my beloved Masha as Avrora but who knows.

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8 minutes ago, Mashinka said:

"Get a room quality"?  I'd call it chemistry. makes a change from those dancers that barely acknowledge their partners.

Re chemistry : I have high hopes for Salenko & Simkin in Berlin next season, could make up for the rest of the troupe.

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58 minutes ago, Mashinka said:

"Get a room quality"?  I'd call it chemistry. makes a change from those dancers that barely acknowledge their partners.

I've seen plenty of stage partners with chemistry. I've seen plenty of off-stage couples performing together on stage, too, and their chemistry is often more intense. But I can't recall another on-stage/off-stage couple that interpolates kisses on the mouth into the choreography. It comes across as vulgar, and not especially spontaneous, especially if they do it exactly the same way each time. Just over a week ago I saw Alexandrova and Lantratov dance the Don Q pas de deux four times, and the "chemistry" was choreographed to the millisecond: press lift, fish, come back to vertical, kiss on the mouth, I'm sorry to say it felt contrived, and it wasn't very tasteful.

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Posted (edited)

GREAT NEWS!  Obraztsova to dance La Sylphide for the first time in 4 years !!! (James will be Belyakov, though) 

Edited by Gnossie

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Posted (edited)
Such good news. Here Obraztsova says she has not been cast as the sylph for FOUR years! Daria Khoklova was originally scheduled to dance with hubby Belyakov so apparently Genia was selected only as a substitute. Why would they deprive audiences of this great dancer in one of her signature roles?  And I suppose we have zero chance of seeing her in next years' screening of La Sylphide and about 100 percent chance of seeing Shrainer in that role. Vaziev, c'mon! 

 

Edited by Quinten

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That's the Bolshoi under Vaziev, the place where the Primas are subs of sloppy soloists... 

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Posted (edited)

The translation of the original Russian text is imprecise. A more precise translation would be: "It has been four years that I haven't danced La Sylphide, it's just the way it happened, and now, unexpectedly for myself she is in the playbill, well, let's bring back the memories of how wonderful it is to perform the child of the air on the 18th of May on the New stage of the Bolshoy theater".

Doesn't look like she is complaining about not having been cast before by the management.

But otherwise it is a valid point: she is arguably the best Sylph of our times and one of the best in history, in the various incarnations of this ballet. Lacotte certainly knows a talent when he sees one, and Bournonville would have undoubtedly seen it too.

Edited by Fleurdelis

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9 hours ago, Fleurdelis said:

The translation of the original Russian text is imprecise. A more precise translation would be: "It has been four years that I haven't danced La Sylphide, it's just the way it happened, and now, unexpectedly for myself she is in the playbill, well, let's bring back the memories of how wonderful it is to perform the child of the air on the 18th of May on the New stage of the Bolshoy theater".

Doesn't look like she is complaining about not having been cast before by the management.

But otherwise it is a valid point: she is arguably the best Sylph of our times and one of the best in history, in the various incarnations of this ballet. Lacotte certainly knows a talent when he sees one, and Bournonville would have undoubtedly seen it too.

Thank you for the better translation.  Obraztsova is unfailingly gracious and takes pains not to reproach Bolshoi for neglecting her.  However, I don't think she would have mentioned the 4 years if she felt totally ok about it.  

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I don't think Vaziev has much say in terms of the repertoire decisions. His hands are tied in several departments, even some of the casting decisions are not his. He is fully aware, and I don't think he is happy, that the company dances so little classic, while the company has more than enough capable dancers, who should be dancing classics, who want to dance classics, and who are denied or have very little opportunity to do that. Just look at what has been going on through this season, for example. So, what is happening at Bolshoi right now, in terms of the repertoire, is, unfortunately, and against intentions articulated by Vaziev, yet another example of wasting talent, and there are very few left now anywhere in the world, capable of doing demanding classics well. The main, if not sole reason why so many of those gala "stars" prefer performing uninspiring modern pieces is precisely this: it is so much easier, while in demanding classics some of the "stars" risk embarrassing themselves, and who is to blame them, if this is not what they are rehearsing throughout the season. Concerning Pagliero, she may not be French, but she is by far the best artist at the moment, a true ballet artist, and not just in Paris.

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Child of the air?

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7 hours ago, Laurent said:

He is fully aware, and I don't think he is happy, that the company dances so little classic, while the company has more than enough capable dancers, who should be dancing classics, who want to dance classics, and who are denied or have very little opportunity to do that.

So for some reason during the 2014-15 season Filin was able to program 21 performances of Swan Lake, including six on tour, but mysterious forces limit Vaziev to programming only ten performances of Swan Lake, including three on tour. This despite the fact that the ballet is the most popular in the company's repertoire, routinely sells out the day tickets go on sale, and Muscovite audiences can't possibly be happy to have so few opportunities to see it.

I find the second half of your sentence untenable. Filin was frequently accused of favoritism, but a dispassionate analysis of casting shows that he distributed opportunities to dance Swan Lake quite equitably. Whereas under Vaziev his preferred casts get three performances of the ballet each, while most interpreters of Odette-Odile and Siegfried don't get to dance it at all. And we are expected to believe that Vaziev is somehow powerless to rectify this situation? If Filin managed to be fair, why on earth can't Vaziev swing it?

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Re Vaziev, obviously he is a poor innocent inexperienced AD with his hands tied, obviously he has no power, nope, it's not him the one cutting the careers of certain Bolshoi luminaries, it isn't him the one choosing the repertoire, it isn't him the one bringing nonsense like Malliot's La Belle to the Bolshoi, it certainly isn't him the one getting rid of Bolshoi ballet masters (Have fun in your dacha, Yuri Vladimirovich!) And it isn't him the one casting his unprepared protégés in leading roles every week, no it's not his choice, it's someone else's but not Vaziev's, of course....

 

Oh, but Filin was the devil himself! 

 

😒

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Posted (edited)

La Belle?!?! 😱😱😱😱

Edited by Fraildove

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It was performed months ago (By the Monte-Carlo troupe) it makes Neumeier's Anna K look like a decent production. :helpsmilie:

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On 5/16/2018 at 8:41 AM, volcanohunter said:

So for some reason during the 2014-15 season Filin was able to program 21 performances of Swan Lake, including six on tour, but mysterious forces limit Vaziev to programming only ten performances of Swan Lake, including three on tour. This despite the fact that the ballet is the most popular in the company's repertoire, routinely sells out the day tickets go on sale, and Muscovite audiences can't possibly be happy to have so few opportunities to see it.

I find the second half of your sentence untenable. Filin was frequently accused of favoritism, but a dispassionate analysis of casting shows that he distributed opportunities to dance Swan Lake quite equitably. Whereas under Vaziev his preferred casts get three performances of the ballet each, while most interpreters of Odette-Odile and Siegfried don't get to dance it at all. And we are expected to believe that Vaziev is somehow powerless to rectify this situation? If Filin managed to be fair, why on earth can't Vaziev swing it?

I wonder how programming is influenced by those who subsidize the theater's expenses?   It wouldn't be surprising if oligarchs with a financial stake in the theatre are able to dictate casting and repertoire and overrule Vaziev and/or Urin when push comes to shove.  The influence of money could have become more potent over the last few years, which might to some extent explain the difference between Filin then and Vaziev now when it comes to staging the classics etc.  

 

 

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Posted (edited)

Vaziev is very devoted to classical ballet, also to 20th century choreographers like Lander, Cage or Forsythe. Not a poor or unusual choice of repetoire. Often he has to defer to the director's wife who is in charge of repetoire planning. She likes Dutch masters and all other sorts of forward thinkers, yet still it is not like the Bolshoi's repetoire is replete with modern gibberish, I'd venture to guess that it still dances more classics than any ballet company other than the Mariinsky. Looking at their season brochure, in 2017/18 45% of performances are classics (e.g., Petipa ballets), 21% were Western "neoclassics" (Neumeier, Cranko, Balanchine, Lander, Alonso, Robbins), 7% are original Grigorovich ballets, 16% are Ratmansky ballets, and only 11% of what you could more or less modern (Killian, Possokhov and Maillot, although you could say the latter two also belong to the "neoclassics" category and staged their works while Filin still nominally headed the ballet company). I am not even counting touring performances, which are mostly classics.

If anything, the programming today is about too much Ratmansky. 

La Belle was not a Bolshoi production, it was a visiting performance by the Monte-Carlo Ballet. May not be to everyone's liking, but still beats classics like Le Corsaire that the Bulgaria Ballet showed at the Bolshoi the other day.

Edited by Fleurdelis

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