Altynai Assylmoratova!!!!!!!

[Solor]

I just have to bring to attention this wonderful ballerina.

I just watched her in the film of Makarova's Royal Ballet "Bayadere". Her kingdom of the Shades is absolutly the best interpretation I have ever seen......live or on film. Her 'Pas Classique of the Shades' - entrance, adagio, and 'danse du voile' variation - is classical technique perfection! I noticed how tastefully she interprets Nikiya. Her 1st act adagio with Solor was so wonderfully placed. Each movement so wonderfully 'Vaganova'.....her arched back and wonderful line, each pose and transition into it was flawless and totally classical. Not once does she give a 180 degree panchee', there are no 'Guillem-ish' or 'Zhakarova-esque' tricks here with the legs going up to the side of her head in a la seconde - she needs this tricks not (dont get me wrong I love these ballerinas!). Her Shades Adagio (Entrance of Nikiya) is so perfect - her developes (spelling anyone?) go to a little over 90 degrees, yet its the placement that is the wonder here. Her varation in the Shades scene - each movement so well defined! She is so grand and opulent - at the pinnacle of her art. How lucky we are that this perfomance was put to film! Just as great are her street dancer in the "Don Q" film, and her Medora in "Corsaire" (her act 1 entrance is perfection) is wonderful.

I read somehwere, Im not sure where, that there are those that felt that she didnt reach her full potential. I say just watch her 'Kingdom of the Shades', and youll see that she reached it just fine!

a little off topic but - watch the first 2 soloists of the 3 shades variations in the film of the Royal Ballet's staging of "Bayadere" by Makarova. I feel smiling has no business in the 'Kingdom of the Shades'!

[atm711]

I just have to bring to attention this wonderful ballerina.

Welcome to the Club

[Hans]

Solor, I feel much the same way--Asylmuratova is exquisite! Have you seen the tape of her in Les Sylphides?

(And I also agree that the shades ought not to smile.)

[richard53dog]

Solor, I feel much the same way--Asylmuratova is exquisite!  Have you seen the tape of her in Les Sylphides?

<{POST_SNAPBACK}>

She's also very glamorous (which I think is very important) in the Kirov Le Corsair video.

I never saw her live, I wish I had.

Richard

[canbelto]

Ok, time to gush, gush, gush. I agree her Nikya is divine. The only Nikya I've seen that comes close to Altynai's is Alina Cojocaru. In fact, these two wonderful dancers have a lot in common -- they both have this intrinsic lovability that permeates every plie and developpe. Altynai IMO combined the best of the old and the new Kirov style: she has the famous pure lines and aristocratic style, along with the long limbs and flexibility that are associated with the new generation of Kirov ballerinas. It's a shame so many of her roles were not filmed -- Giselle, Swan Lake, I would have loved to see her in those roles. My favorite moment of that Bayadere film: just before Nikya dies, she gives Solor a "how could you" look. Altynai's large exotic eyes make this moment unforgettable.

[Hans]

Asulmuratova's eyes must be among the Seven Wonders of the Ballet World.

[sylphide]

With all due respect Hans, Mme. Asylmuratova IS the wonder of this Universe

[Joseph]

Yes she is beautiful! I like her in "The Leaves are Fading" on the Kirov Dances in London video.

[Solor]

Solor, I feel much the same way--Asylmuratova is exquisite!  Have you seen the tape of her in Les Sylphides?

(And I also agree that the shades ought not to smile.)

<{POST_SNAPBACK}>

Yes I have Hans! I have the video "Maryinsky Ballet" aka "Kirov Classics". Her mazurka is classically precise, so perfectly Vaganova. I believe Mme. Vaganova would have been proud!

I also love her in the fim "Kirov Ballet in London", where she danced the "Le Corsaire" pas with Ruzimitov. They were a great partnership.

[Cygnet]

I'll co-sign on all of the above!! For me Altynai will always be "The IT ( ) Prima Ballerina." Unlike many of today's young Maryinsky generation, who are being pushed to the front, in most cases too soon in recent years, she was already fully formed. Out of school, she was already a diamond; and Moiseyeva her coach cut her into a flawless gem. She served 5 years in the corps de ballet under the AD Vinogradov. There she really learned her craft. . . Furthermore, unlike some of the young M generation today, Altynai was very humble and unaffected. Even her bows and curtain calls were tasteful and modest - totally devoid of exhibitionism. As a M ballerina she wasn't a diva, although she had every right to behave like one. Moreover, unlike some of the M (and Bolshoi) stars today, she was imminently quotable in print. She was a charming and effective communicator. Fonteyn was said to have had this same gift. The younger M generation today would greatly benefit from her example.

In Bayadere and all of the repertory she was incomparable. In Acts 1 & 2 her arms, back and acting were awesome. She was India. In the Act 3 ppd she executed the six consecutive lifts like no one else. Her Shade was a floating mist - totally weightless. She was an angry Shade, and this enhanced the continuity of the story. Even if her Solor was having an off night, she could by sheer will inspire him to turn in a decent performance. She was the kind of ballerina who could bring out the best in her partners and the corps. In everything she did, she made it all make sense, and made it all look fabulous. Also, her live O/O was a yardstick of artistry. Thank God I saw her live in both ballets!

Unfortunately, her dance record on film is unjustifiably sparse. For some inexplicable reason many of her countrymen conferred the benediction on her career that she 'never reached her full potential.' ? IMO with the exception of her peer Terekhova, she was superior among the M colleagues of her generation in sheer artistry and dance maturity. Internationally she was acclaimed as the living exponent of St. Petersburg classicism. During the early- mid 90s, the careers of ballerinas such as Makhalina & Lopatkina were vigorously promoted over her's (and others) during the final years of Vinogradov's regime. At the end of her career, she got 3rd & 4th cast matinee performances in favor of the new AD Vaziev's protegees. She was 4th cast Aurora in the revival of the new/old Sleeping Beauty. To compensate for this treatment, she guested extensively outside of Russia to great acclaim until she accepted the post of AD of V Academy. She went out quietly at the MT with a final performance of R & J in January 2000. I just go nuts when I think about her dancing. IMO her Nikiya, O/O - etc., are just like the fact that Sean Connery will always be James Bond and no one else, you know?

[canbelto]

I wouldnt say AA was an "angry" Nikya. I'd say that she manages to convey Nikya's desperation and humiliation perfectly. Particularly in the betrothal dance -- with every arch of her back or flick of her hand, she makes you feel how degrading it is for Nikya to be forced to dance at Solor and Gamzatti's big party. I compare that to Isabel Guerin, who certainly is a very fine dancer. But she can't make you feel Nikya's pain the way AA can. Neither could Gabriella Komleva, or Svetlana Zakharova, although they were certainly fine Nikya's too. Alina Cojocaru could -- she like AA has this natural vulnerability and musicality. In fact, I think these two dancers have a lot in common

In the Shades act, AA strikes just the right balance between being otherworldly/remote and human. This is ballet Giselles have to strike this balance too -- IMO Carla Fracci was too remote, Lynn Seymour too human, and Natalia Makarova just about perfect. Like all great dancers I notice that AA inspires greatness in her partner too. Irek Mukhamedov in the video visibly awakens when Nikya the Shade lightly taps him on the shoulder. This is ballet at its best -- formal, classical, yet deeply personal and moving.

I think it would have been interesting to see AA dance the Kirov version (or the Nureyev version, which is practically identical to the Kirov version). Makarova's Bayadere has the reconstructed third act, which adds an element of revenge to Nikya's character. I've waffled back and forth on this but in the end I think Nureyev was wise to end La Bayadere at the Kingdom of the Shades act -- it is in many ways more touching, uplifting, and poignant. Nikya and Solor are reunited in spirit.

[atm711]

I was 'blown away' by her performance in "Theme and Variations" (the original version--not that later one ) I saw Alicia Alonso originally in the role, and I thought I would never see her equal---They both had the marvelous aristocratic style, but overlayed with a patina of softness.

[Hans]

Asylmuratova in "Theme"...how lucky you are to have seen that atm! Did she ever do Diamonds?

[MakarovaFan]

How is AA in the Kirov's video of LE CORSAIRE?

[canbelto]

How is AA in the Kirov's video of LE CORSAIRE?

<{POST_SNAPBACK}>

AA is beautiful! Very glamorous, and she certainly knows how to make an entrance! (She literally leaps onto the stage and executes a series of high kicks.) Technically, she has a few weaknesses. For one, she's not a natural turner, not the way Gillian Murphy or Alicia Alonso or Natalia Dudinskaya were. Her thirty two fouettes are done very well, but you can kind of see her struggle. However, the overall adorable-ness of her Medora makes the video well worth watching. The video is well worth watching for a bunch of other reasons, including Elena Pankova's Gulnare, and Farukh Ruzimatov's Slave.

[drb]

Here is an often repeated interview of Altynai in her new position at the Vaganova Academy. But this version comes with a 19-photo slide show. Check her out in #18. Still a great beauty!

http://www.washingtonpost.com/wp-dyn/conte...5081200378.html

[Hans]

I think the high point of AA's Le Corsaire is the Jardin Animé. She balances for days, does sixteen sharp, perfect ballonnés in her variation, and is generally extraordinarily radiant!