Jump to content

2017-18 Bolshoi cinema season

Recommended Posts

9 hours ago, yudi said:

I don't want to carry on arguing with you about Krysanova's ballet performances. People could have different instinct and taste for ballet art. However, we should first pay respect to a ballerina's talent, hard work and great effort.

As a new participant in this forum, I couldn't agree more.  But shouldn't ALL ballerinas be treated with respect?  


I've acknowledged that Krisanava has many many admirers and that there are many admirable facets to her dancing. She is not a classical lyrical dancer, however, and this is a problem when it comes to the role of Medora.  This is not an off the wall criticism and does not in any way suggest that Krasieiva is not a good ballerina -- just not the best Medora.  I supported my critique of her dancing with video showing comparing her to a Medora I prefer, Altynai Asylmuratova.  It is possible to do a frame-by-frame analysis of Crisonava vs Asylmuratova to talk about the strengths and weakenesses of each, and how successful each is in expressing the role of Medora.  I am eager to hear what people think about this.


To me, Stepanova has little to do with this -- I only suggested that the beauty of the Stepanova/Rodkin trailer was in sharp contrast to the two rather ordinary people we saw in the cinema.  Yet critiques were directed at Stepanova rather than Asymuratova.  Can we stay on the topic, please? Thank you!!



Share this post

Link to post

[Admin beanie on]


We are not a fan board or a scoreboard.  We are not a chat board or the lobby.  If you want to chat, use PM.


Post what you think, not about what others think.  


If you need to point out a factual error, that's fine.


And all casting changes need official sources, like dancer X decided not to do the role reported in the press/on Dancer A's public facing Instagram/in an interview.


[Admin beanie off]



Share this post

Link to post
17 hours ago, yudi said:

Plus, I saw Stepanova dancing live in Etudes. She was hesitant and unsure, made some obvious missteps in fouette turns and the trio with Chino and Tissi, which cannot convince me that Stepanova could be a better Medora than Krysanova was.


Not true. Neither hesitant nor unsure. I saw that performance too. Mark Chino, a boy straight out of school, this was his first month at Bolshoi, and a last minute replacement at that, after a single rehearsal with her partner with his hands literally trembling when touching her. The situation was saved by her. Partnering by Tissi was fine even though it was their first duet together. The long Adagio was pure, unmatched lyricism of the most Romantic style. Nobody can dance like that.


Ballet is not a circus, is not a sport competition, even though some novices mistake it for one or another, imagining themselves, by the way, to be the verdict passing jurors. An occasional misstep doesn’t make a master artist a lesser artist, or a lesser master of dance. Similarly, a never erring machine is not automatically a great artist, or even a great dancer, she may be little more than a fast moving, high jumping dancing machine.  Classical dance has many dimensions, and the most ethereal and sophisticated ones are the domain of a very select group of dancers.


A principal deserving of such a distinction doesn't need to be technically the strongest. In the same company there can be equally strong or stronger soloists or demi-soloists. Listen to what Natalia Makarova has to say on this subject in her "Ballerina" BBC documentaries, a veritable Bible for an aspiring ballerina, and for an aspiring balletomane as well.


A great, even a supreme artist, may have a serious difficulty with or feel panic faced with the fouettés, to the point of being completely unable to do them. This is the reason why we rarely or never see some of them doing the fouettès. I would like to point this out to the person who has been pedaling this issue for a month in multiple threads, in countless posts, as if it was a decisive moment on which a ballerina stands or falls.  Anna Pavlova, Galina Ulanova, and a few supreme ballerinas still alive, obviously must be deserving the damning verdict "fail" (the ballerina who has been a constant object of her inquisitive mind, by the way, has no difficulty with fouettés at all and, while not a fouettés machine, does them at ease while many don't, I saw her fouettés a dozen of times, all in grand spectacles).


Ludmila Pagliero in her three Swan Lakes last December in Paris was short on the number of prescribed fouettés. A mortal sin, I suppose, for a novice, except that it is irrelevant. Pagliero is a supreme artist, currently by far the best ballerina at the Opéra de Paris, and one of the very-very few in the World.  Her performances were artistically absolutely exceptional. They stand at the very top of 25 Swan Lakes I saw last year, all danced by the principals of the leading companies (along with the November Bolshoi debut by Stepanova, artistically the most moving Swan Lake I saw since I can remember). So, if ballet is still counted as Art and not a form of competitive gymnastics, it doesn't matter if an artist occasionally missteps, it counts if she can uplift us with the ethereal qualities of her dance, if she is capable of filling stage with Light, if she can charm us with her soul.


Share this post

Link to post

Perceptions are neither true not untrue.  One person's secure is another's shaky. 


Facts are "She didn't dance that performance." "X is listed as the choreographer, but in an interview with Y that Z took over." "Her Facebook lists her as a soloist in company A."



Share this post

Link to post
4 hours ago, Laurent said:

A great, even a supreme artist, may have a serious difficulty with or feel panic faced with the fouettés, to the point of being completely unable to do them


Interestingly, in the Medora clip I posted above, starting at 5:40, Asylmuratova only did 20 fouettes, then stopped to give the audience a beautiful smile, made a few more turns and an arabesque and that was it. Even today I don't think anybody would seriously argue that her failure to do the full number of fouettes disqualified her from being a prima ballerina.  

Edited by Quinten
add missing word

Share this post

Link to post

That smile of Asylmuratova when she ends her fouettes is so adorable that you just have to love her. 

Edited by Josette

Share this post

Link to post

At a gala performance all sorts of liberties are allowed that would be a no-no in a formal performance. Asylmuratova, of course, lost stability here, probably a result of insufficient concentration before entering the stage, this is why she "finishes" her fouettés in the wings. it is notoriously difficult to concentrate in the coulisses during many gala performances, the weariness due to travel, the unfamiliar stage, off-season timing, lack of space and time for proper preparation before going on stage, etc, are all the contributing factors. Some "international ballerinas" like Yana Salenko or Maria Kochetkova know how to cope with that, gala performances around the World are a part of their job, after all, others, without a similar experience, don't.

Share this post

Link to post
  • Recently Browsing   0 members

    No registered users viewing this page.