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The Bolshoi under Vaziev

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Also seen (with the Mariinsky still touring under their Kirov name) at the Met. One cast was Zakharova-Lopatkina.

Very glad to have seen that cast!

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SHurale and Bayadere are my favourite ballets. I was so lucky to see several performances of Shurale and it is a lovely ballet. THe music is beautiful and poignant and the final pas de deux for Syuimbike and Ali-Batyr so lyrical and moving. I think act 2 in particular is one of those acts in ballet where you feel that everything is right with the world. It is an act of great joy, has wonderful crowd scenes, Vaganova children dancing, very poignant moment where Ali-Batyr catches sight of Syuimbike, who has been "hidden" by the villagers. There is also a very beautiful scene for Syuimbike and her friends earlier on in the ballet, which expresses their mutual love, and is just SO moving. I think I cry every time I see this! There is some lovely choreograph for the female corps members, notably where they first swoop onto the stage in a sequence of grand jetes and then turn into their human form. I love Shurale and yes, I WISH Mariinsky would tour with it so that more people could see it but I do think it is one of those ballets that is so entrenched in Russian tradition and folklore, that it would not be the same danced by a non-Russian company. I cannot imagine any non Russian children dancing in it, for example, and they play a big part in act 2. I think it is truly a folk ballet. And Obraztsova and Smekalov were wonderful in this and my favourites, although I also loved Shirinkina, Evseeva and Martynyuk. Incidentally, speaking of ballets that are never toured, The Fountain at Bakhchisarai is another wonderful ballet, rarely (never?) seen out of Russia. Great, great shame...

The Maryinsky (I think it was still the Kirov then) did bring Fountain to New York a number of years ago. I saw Zakarova and Part as the heroine (forget her name) and Lopatkina and Assylmerotova as the heavy, and just loved it. It is one ballet I can't see anyone but Russians doing, though.

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Shrainer has just been cast as The Sylph in La Sylphide.

Margarita Shrainer is a completely new discovery for me. Based on very limited viewing of several video clips, I like her very much.

She has a lovely, airy gracefulness, similar to that of Svetlana Lunkina and Anna Nikulina, and a very fine sense of theater. This is reflected in the diversity of lead debuts that she’s recently received. As mentioned, she just debuted in La Sylphide (delicate and dreamlike), did the same about a month ago in Flames of Paris (probably highly dramatic, I haven’t seen it) and is scheduled as Kitri (Don Quixote, delightfully animated) in London this summer.

Once again she represents a seamless combination of grace and theatrical excitement, that the entire company possessed and so impressed me in April.

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Some very interesting things are happening at the Bolshoi. In the recent four day run of Sleeping Beauty there was a huge number of debuts by dancers from the corps in soloist roles (such as Denisova, Schreiner, Zhiganshina) and lower level soloists in major roles (such as Anna Okuneva as the Lilac Fairy). In a last minute substitution, Krysanova danced Aurora with a very lucky Vladislav Kozlov from the corps as Prince Desire. On Instagram, many debutants were over the moon, understandably thankful for these unforeseen opportunities.

https://www.instagram.com/p/BFbfm6IGJyP/?taken-by=call_me_perch and https://www.instagram.com/p/BFedQMJAqi2/?taken-by=gaglianonebruna are some examples.

Not having been a really close follower of the Bolshoi, the effect of this post is just beginning to settle in. It is quite interesting and exciting. I like the parts of it that I’m more familiar with very much. I’m also trying to become more familiar with some of the names that I didn't know about.

Anna Tikhomirova

She is one dancer that I am somewhat familiar with and have liked since the first Bolshoi (not related to the company) ballet dance competition on TV. I’ve also seen her in several secondary stage performances. In addition, her general outlook on things, as expressed in this brief interview, has left me with a warm regard.

“Artists, after all, exist to bring goodness into the world.”

http://rbth.com/arts/2014/07/25/bolshoi_dancers_ballet_is_the_art_of_overcoming_oneself_38535.html

Scanning the internet to find out more about the new names, I’ve been very impressed with what I’ve seen of Anna Tikhomirova. She has a lively, expressive quality that I would have associated with my previous, more limited perceptions the Bolshoi, and she also has a lovely, linear airiness and a warmth of expression that’s her own. I put her linear gracefulness in a loose stylistic grouping that would include Ulyana Lopatkina, Svetlana Zakharova, Oxana Skorik, Nina Kaptsova and others.

Recent recognition of her beauty and range is shown in her very contrasting debuts as Princess Florine (Bluebird duet) and the White Cat from “The Sleeping Beauty” and her very encouraging debut as Giselle later this month.

As an aside, one somewhat fascinating occurrence, for me, is the debut (long ago she apparently did a different version, as pointed out by Sophia at Dansomanie) of Maria Alexandrova as the Sylph in "La Sylphide." I’d love to see how this goes and wish her much success.

A lot of this seems to be of Makhar Vaziev’s doing and along with posters at this forum and others, I’m liking it very much.

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Interesting article in DW online in which Vaziev, Denis Rodkin and Ana Turashvili are quoted on recent changes in the company. http://www.dw.com/en/the-bolshoi-ballet-moving-on-from-scandal/a-19335609. Rodkin and Turashvili seem to like the direction the company is going under Vaziev: better discipline, more opportunities for dancers to demonstrate their readiness for new roles. Certainly we've seen the latter in recent castings.

One question: Turashvili is listed on the company website as a soloist, but in this article (and another I saw somewhere else that I can't remember) as a FIRST soloist. I wonder if this is just a translation issue or if Ana has actually been (or is soon to be) promoted? Bolshoi promotions are usually announced in July, but perhaps some are known already?

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One question: Turashvili is listed on the company website as a soloist, but in this article (and another I saw somewhere else that I can't remember) as a FIRST soloist. I wonder if this is just a translation issue or if Ana has actually been (or is soon to be) promoted? Bolshoi promotions are usually announced in July, but perhaps some are known already?

Perhaps she has been promoted! But the article also says Filin has left the Bolshoi theater which I believe is not true (unless something has changed in the last week or so, he is there working with new choreography/choreographers)...so I'm not sure one can count on the article being accurate in fine details whether the problem is translation or just a journalist's sloppiness.

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Interesting article in DW online in which Vaziev, Denis Rodkin and Ana Turashvili are quoted on recent changes in the company. http://www.dw.com/en/the-bolshoi-ballet-moving-on-from-scandal/a-19335609. Rodkin and Turashvili seem to like the direction the company is going under Vaziev: better discipline, more opportunities for dancers to demonstrate their readiness for new roles. Certainly we've seen the latter in recent castings.

One question: Turashvili is listed on the company website as a soloist, but in this article (and another I saw somewhere else that I can't remember) as a FIRST soloist. I wonder if this is just a translation issue or if Ana has actually been (or is soon to be) promoted? Bolshoi promotions are usually announced in July, but perhaps some are known already?

Perhaps she has been promoted! But the article also says Filin has left the Bolshoi theater which I believe is not true (unless something has changed in the last week or so, he is there working with new choreography/choreographers)...so I'm not sure one can count on the article being accurate in fine details whether the problem is translation or just a journalist's sloppiness.

I think it is a bit simpler than that: the article talks about Anna Tikhomirova, who is indeed a first soloist. Ana Turazashvili is still a soloist. Though maybe she will be promoted this summer, who knows. But to do that Mr. Vaziev would have to clear out some dancers at the higher up levels to free up the requisite wage-rate headcount slots.

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I think it is a bit simpler than that: the article talks about Anna Tikhomirova, who is indeed a first soloist. Ana Turazashvili is still a soloist. Though maybe she will be promoted this summer, who knows. But to do that Mr. Vaziev would have to clear out some dancers at the higher up levels to free up the requisite wage-rate headcount slots.

It appears that the article has been edited to remove the quote from Ana Turishvili, described as "first soloist", which I'm sure I read in an earlier version.

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An interview with Vaziev by Laura Cappelle

http://www.ft.com/cms/s/2/709e6db4-3223-11e6-bda0-04585c31b153.html

Good interview. What stood out to me was Vaziev's continuing support of reconstructed classics. (YIPEE CA-YEY!) He mentioned wanting to welcome Ratmansky back to Moscow, specifically to present reconstructions. Vaziev championed and commissioned historical ballets by both Vikharev and Ratmansky, at the Mariinsky & La Scala, so no real surprise in the statement. However, it's surprising that he would state this at the Bolshoi, where Grigorovich's productions of the classics reign supreme, as they have for 50+ years. [The Bolshoi's reconstructed classics are those that were staged in the late 90s through 2011, ie, Pharaoh's Daughter, Corsaire, Esmeralda, Coppelia and Paquita Grand Pas...the period when Grigorovich wasn't calling the shots as loudly.] Maybe next season's emphasis on Grigorovich is a clever way to turn the page - give him a huge Festival, then slowly begin to replace his classics with the reconstructions? Keep Spartacus and change the rest, after 2017?

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Maybe next season's emphasis on Grigorovich is a clever way to turn the page - give him a huge Festival, then slowly begin to replace his classics with the reconstructions? Keep Spartacus and change the rest, after 2017?

Yes, very clever strategy. Let's hope it works.

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It appears that the article has been edited to remove the quote from Ana Turishvili, described as "first soloist", which I'm sure I read in an earlier version.

The photograph in the article is also of Anna Tikhomirova, properly captioned.

And, please, it is Turazashvili, not Turashvili or Turishvili.

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Good interview. What stood out to me was Vaziev's continuing support of reconstructed classics. (YIPEE CA-YEY!) He mentioned wanting to welcome Ratmansky back to Moscow, specifically to present reconstructions. Vaziev championed and commissioned historical ballets by both Vikharev and Ratmansky, at the Mariinsky & La Scala, so no real surprise in the statement. However, it's surprising that he would state this at the Bolshoi, where Grigorovich's productions of the classics reign supreme, as they have for 50+ years. [The Bolshoi's reconstructed classics are those that were staged in the late 90s through 2011, ie, Pharaoh's Daughter, Corsaire, Esmeralda, Coppelia and Paquita Grand Pas...the period when Grigorovich wasn't calling the shots as loudly.] Maybe next season's emphasis on Grigorovich is a clever way to turn the page - give him a huge Festival, then slowly begin to replace his classics with the reconstructions? Keep Spartacus and change the rest, after 2017?

In my opinion, that would be a nightmare. As you mention, the Bolshoi has a lot of reconstructions of its own already, I would be quite happy if it just brought back Pharaoh's Daughter and maybe Esmeralda. To me Ratmansky's reconstructions are oddities to be seen once to satisfy one's curiosity, but as regular fixtures in the repertoire they would be unbearably boring and dull the brilliance of the incredibly talented constellation of the Bolshoi's dancers.

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PLEASE no more Ratmansky ANYWHERE. Just look at Mariinsky Theatre. Aren't Little Humpbacked Horse, Anna Karenina and Cinderella enough afflictions on Russian ballet??? Bolshoi does NOT need Ratmansky. NO-ONE needs Ratmansky ballets.

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Really? I would like to think that in that case he might consider a move to the UK, believe me he would be welcomed with open arms. We'll be seeing Flames of Paris this summer, though unfortunately not The Bright Stream or Russian Seasons. His beautiful 24 Preludes that he created for the RB, deserves a revival soon, I imagine it would have been seen sooner had one of the leads not retired and the other left for another company.

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Ratmansky was just sworn in as a US citizen a few weeks ago. Several news reports. Of course, he can still work worldwide, but I assume he likes it here.

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PLEASE no more Ratmansky ANYWHERE. Just look at Mariinsky Theatre. Aren't Little Humpbacked Horse, Anna Karenina and Cinderella enough afflictions on Russian ballet??? Bolshoi does NOT need Ratmansky. NO-ONE needs Ratmansky ballets.

.

His record is so spotty; great with one work, horrible with another. You cite some of the worst. I would add his ABT Nutcracker, Firebird and The Tempest to that list. On the other hand, there are his lovely works for NYCB (eg, Namouna and Concerto DSCH), his works for Ananiashvili (Charms of Mannerism, Leia, Bizet Variations), and the Zurich Swan Lake, which is my non plus ultra after the Mariinsky's 1890 Beauty (Vikharev). Of course, I really do NOT judge Ratmansky by his design/sartorial choices, often minimalist (El Cheapo). The design budget is often outside his control (ABT LIKELY couldn't afford to replicate the more expensive Boris Messerer designs for the original Bright Stream...but they allowed the rental of the luxurious COQ D'OR designs from Copenhagen). I'm now judging AR solely on his choreography & overall conception, which CAN be magnificent about 50-60% of the time.

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On 6/18/2016 at 1:39 AM, Fleurdelis said:

The photograph in the article is also of Anna Tikhomirova, properly captioned.

And, please, it is Turazashvili, not Turashvili or Turishvili.

The original article featured BOTH Anna Tikhomirova and Ana TuraZAshvili. There was a photo of Tikhomirova but no photo of Tura oh heck I'm just gonna call her Ana. Both Anna and Ana were quoted in the original article. The revised article does not reference Ana, only Anna.

 

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They probably removed the references to Ana in the article because they could not spell her last name. ?

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They probably removed the references to Ana in the article because they could not spell her last name.

:rofl:

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According to Tsiskaridze's tumblr, Alena Kovaleva has joined the Bolshoi corps de ballet. What a coup for Vaziev, she is extraordinary. Do we know whether any other top Vaganova graduates from this year's crop have joined Bolshoi?

I can't get the link to work, but if you go to Tsiska's tumblr you'll find it.

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Again, great gain for Bolshoi, and loss for Mariinsky. Another Vaganova graduate Alena Ledyakh is joining the Bolshoi, too.

I wonder where Eleonora Sevenard is going. It would be a shocking news if Sevenard is not accepted to Mariinsky.

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