ina

I was also rather unhappy at what I saw during the Balanchine premier at the Bolshoi. The main problem from my point of view is that the chosen ballets were under-rehearsed. 5 years ago the dancers involved in Balanchine program were free from other obligations for three weeks rehearsals. Now they had to participate at the same time in the full-scale ballet process on the two stages of the Bolshoi. I think , they did not prove to be ready for that. What to the casts, they really looked random. One of the reasons, as I see it, is that the most of the heroes of the previous premier were absent: Tsiskaridze – injured ( his duet with Alexandrova in the 3d part of Symphony in C was spectacular 5 years ago), Ananiashvili, Petrova, Uvarov, Belogolvtsev – on tour. Filin was the only premier danseur engaged in the project. And he, for some reasons, failed to demonstrate the level of dancing and style suitable for his rank. I think the understanding of the Balanchine style was the major problem, the company faced. Even Svetlana Zakharova, whose dancing was almost exquisite in the adagio part of Symphony in C, lacked the dignity and grace, which we saw with the best Russian interpreters of this part - Lopatkina and Ananiashvili. Her happy smiles in the middle of the part destroyed the spell which she began creating with her beautiful soft feet and incredible (sometimes exaggerated) plasticity. Gracheva was a sheer disappointment – again more in the style, than technique (which wasn’t perfect either). Who knows why, but she chose to put on airs of Odylle for the 1st part of Symphony (!). Stepanenko manifested her strong technique in Tarantella, but brought to the piece too much of a typical Russian-Ukrainian flavour and bravura instead of lightness, unforced easiness and natural coquetry, as I see it. On the 11th of April there will be another Balanchine performance: Alexandrova returns to the 3d part, Uvarov - to the 2d part of Symphony. We’ll see how it works: Uvarov will partner Gracheva (Zakharova leaves on 2 month personal tour), Alexandrova will have a new partner - Vorobiev, whom we hardly know. Will he match her? There aren’t many male dancers in the company, whose jump is better than Alexandrova’s . Anyway I do hope that the company will polish her Balanchine program to the extend which will match it’s name “Bolshoi”.

Better late, than never, so I'll take a chance to share my impressions with the experts here. :sweating: I'm not a connoiseur of the Stuttgart company and happened to be there just by chance, but the performance really impressed me: lots of characters, lots of dancing, dynamic and passionate action. The choreographer put a lot of effort in telling the story only by means of dancing and mostly succeeded taking into account that the story is not a simple one. Without knowing the opera (I’ve heard it once) I guess I would have had problems in understanding some of the details. Well, ballets like “La Fille Mal Gardee”, which one doesn’t need to read the program to understand the story, are not numerous. Nevertheless, the action could have been distributed more evenly between the two acts. The beginning of the second one obviously lacks it - instead we have long dances of the mixed corps, though beautiful and expertly performed. What mostly impressed me about dances in general is their breathtaking tempo and the quality of dancing. I also liked the use of mixed styles – sharp points for the nervous Countess; modern, full of angles and loose feet and arms for Lulu. Lulu’s choreographic profile is 100% individual and perfectly suits her character, as well as the Countess’s. Other personages are less sharpened from my point of view. I also liked the idea of “multiplying” Lulu in two scenes of both acts, as well as the idea to introduce the TV-screen instead of a conventional portrait of the heroine, needed in the story. Once again I want to stress that the quality of dancing was superb. Alicia Amatriain’s technique and physical abilities are really outstanding (does she have any bone joints?). I’ve seen her once at a gala in Moscow – she was dancing a pdd from “In the Middle…”. Impressive, but the full-length ballet is another story! Bridget Breiner was impressive not only in her dancing and acting, but also in singing (was it really her own voice? :rolleyes: ). What really created mixed feelings is the choice of music - I mean the Shostakovich pieces. It doesn't mean at all that I don't like it's quality -it's just brilliant and 100% made for dancing (mostly from ballets “The Limpid Stream” and “Bolt”). The problem is that these pieces have no decadent mood suitable for the story. For me it sounds too Soviet, too optimistic, etc. I know that one of the waltzes was used also in the Kubrick’s film “Eyes Wide Shut”., but it also seems strange to me. May be the way I hear it is due to my pioneer childhood associations.

Nureyev never danced the full version of "La Bayadere" in the West, but staged "The Shades" for the Royal Ballet soon after his defection. The general rehearsal with Margot Fonteyn as Nikiya was taped and is available to be seen in NY Library: it's huge dance collection is located in the building neigboring MET in the Lincoln Center. The tape is rather impressive, though some variations differ from the original version of the Kirov. Eigther Nureyev didn't remember well the female variations or tried to adapt them for Margot Fonteyn. At least that was my impression.

As far as I know next appearance will be on the 27th of October in "Pharaoh's Daughter" followed by two more performances on October 29 and 31. Her partner will be Sergei Filin. Zakharova never danced this ballet, so that will be another debut. Let's wait and see what comes out.

There was considerable amount of criticizing under Bolshoi‘s eight columns after the performance, but enough enthusiastic applause at curtain calls, and being frank not only inspired by the claque. Also her partnership with Tziskaridze automatically provided Zakharova with a whole stock of his devotees. Beautiful long-legged pair, romantic story, two prime-ministers, Russian and French, in the central box, - isn’t it enough nowadays to warm the hearts?

This “Giselle” was indeed a performance of great interest for Moscow ballet goers, for me even of double interest, since I missed the spring “Giselle” with Zakharova/Tziskaridze, which was so talked about. I must confess at once that for me personally it did not become a revelation. It was obvious that Svetlana did not feel at ease, which is rather natural in the circumstances, and as a result, I couldn’t get rid of the feeling that she is trying too hard to make a show off of her debut. This tension, I think, affected both her dancing and acting. For me she rather acted Giselle, instead of living it – one of the possible reasons is that Zakharova is still too young and emotionally inexperienced. In any case, to my taste she was double cream in idyllic episodes and not too convincing in the mad scene (may be right from the beginning of this crucial episode she was a bit discouraged by Giselle’s mother – the actress was so clumsy in disorganizing Giselle’s hair for the mad scene, that it seemed to take ages ). The white act needs less dramatic efforts, but badly needs style. To my conservative eyes it was broken: poses were not Giselle-like and the hands were more of a swan, than willy, not to mention the “obligatory” six o’clock. Dancing itself was technically strong, but not impeccable, often lacking fluidity. What really surprised me that Zakharova demonstrated neither high jump, nor real balon (sorry to be depraved by jumpy Moscow ballerinas ). I’ve seen her several times before with Mariinsky, but was never aware of the fact. May be, it finally struck my eye in comparison with that day’s Mirtha – Maria Alexandrova and, surely, her Albert – Tziskaridze. He was emotional, but not over exaggerated, elegant in dancing and technically strong in bravura elements, with which this Vasiliev’s version is stuffed to my regret. I would like to point out that of course Zakharova has spectacular lines and elastic feet and these qualities should 100% work in “Swan Lake”, especially in the old-new Grigorovich’s version, which is sophisticated to such an extend, that almost lacks sense ) and as a result does not need extra-dramatic qualities.

Mikhail Lavrovsky's opinion is more than a shock to me. He surely should remember the standards of the Bolshoi, which are obviously fading, since many decisions are being made not for art's sake. The whole story around Volochkova is disgusting, but it would have never happened if the Bolshoi administration was more careful making their choices, as did Fadeechev after he became artistic director - he did not offer her ANY contract.

I think that Volochkova is not worth all the fuss raised about her these days in the press and television and really regret the fact . (It also seems to me that western journalists dramatize this situation, since they are less informed than ours and seem to believe all the crap she tells them. Sorry. :shrug: ) Volochkova was never considered here in Moscow (at least by balletomanes and critics) to be the first rank ballerina, the “pride of the Bolshoi” etc., etc. Her publicity was created by numerous glamour magazines and yellow news-papers (mostly heavily paid), supported by TV-shows, bill-boards of her personal concerts, which may be described by single word “kitch”. And this publicity had nothing to do with her “art”. All serious, sometimes even harsh, critics (and there was a lot!) Volochkova explained by jealousy to her glamorous international career (where – do you know that planet?) and unearthly beauty. (Well, she is a beautiful woman, but it is some other profession). Unfortunately, she had one, but weighty argument against critic – she was chosen by Grigorovich himself (!) to dance the opening night of his old-new “Swan Lake”and on these grounds resumed her contract with the Bolshoi, terminated during Fadeechev times (he was the only one to have the guts to stand against the pushy ballerina and her “sponsors”).Well, I do not want to sound harsh, but I am sure that considerable money was involved to make this choice, as well as to be honored later the “Benois de la Dance” Prize. This scandal - when the audience in the Bolshoi whistled and wooed during the ceremony, protesting to such decision, – was covered by many papers in the spring 2002 . I have never seen before such an obstruction. These past years Volochkova had nothing to complain, since she had more performances than any of our prima-ballerinas. And there were situations when she demanded (and got!) the performances scheduled for others. It’s also true that our male-dancers didn’t want to dance with her. For example Uvarov (the tallest in the company) was injured after dancing with her in Italy. Ivanchenko managed for a while, risking his health and reputation not only for legal honoraria ( sorry to sound gossipy, but c’est la vie in today’s Russia). Now, if we speak of Volochkova as a dancer, here’s my personal opinion. Her main problem is not the height or the weight (she certainly put on considerable amount in the past year or two) and as a result the loss of required dancing abilities. The problem is that she does not understand what she is dancing about, all her emotions being utterly artificial. The only sincere feeling she manages to demonstrate is self- admiring. I’ve seen her Giselle. That was, I think, 6 years ago, when she was still a promising young dancer. The ghost of the poor deceived peasant girl was so aggressive and arrogant that it seemed, that Mirtha with the whole stock of willis will be simply trampled. I am sure that she was fully aware of the fact, that Ivanchenko decided to leave Bolshoi ( we, balletomanes, knew that in July). But for the moment she gains more from this scandal than looses. She is supported by two pro- governmental political parties, which had intentions to use her in the coming election company. After that I won’t be surprised if she gets money and facilities to open, for example, her own dance theatre, or something of the sort . And last, but not the least: as a rule Russian people are very pitiful towards those who are “unfairly chased”. And some people manage to take advantage of that .

I think some of the postings here sound too dramatic and I can’t agree that, “Moscow audience don’t seem to have taken the Royal…”. All in all, it seems to me the visit was rather successful, and the theatre was mostly full in spite of abnormally high prices. The opening night and the final gala were the most expensive, and I think that seriously discouraged many ballet-goers. For me personally this visit was of great interest, since the program was mostly unfamiliar to Moscow public. The only ballet we had a chance to be acquainted with was “Mayerling” (on video). Now I saw it twice – with Kobborg/Galleazzi and Cope/Rojo. Unfortunately Cojokaru, who was to partner Kobborg, was injured and did not come to Moscow. I decided to skip the performance with Irek Mukhamedov, who was specially invited by the Royals for Moscow tour, since I have a tape with him where he is in much better shape. Now at 43 Irek is very heavy, and my heart jumped with fear unison with his jumps in the “Winter Dreams” pdd at the opening night, but he still has stage presence. Kobborg was wonderful, both in acting and dancing, and superb in performing numerous very difficult liftings. Galleazzi danced well, with elegant sharpness, but she lacked the craziness needed for Maria Vetsera. Jonathan Cope seemed to me less convincing, less at ease in partnering his many women, though the final scenes with Tamara Rojo were rather expressive. Though I must confess Rojo didn’t meet all of my expectations ( may be they were too strong ). There was also a lot of really good dancing demonstrated by other members of the company – Zenaida Yanowsky, Nickolas Tranah, Jaimie Tapper, Jonatan Howels. Our public was rather enthusiastic to see “Mayerling”, since people here do like choreodramas, and the theatre was full. But as far as I could understand from conversations, postings on ballet-forums and reviews in the newspapers they met it with mixed feelings. Giving credit to MacMillan’s talent in creating duets they seemed to be disappointed by the realism of the ballet The ballet-lovers are still very romantic here ). For me personally “Mayerling” always seemed to be overcrowded – both with personages and events. I rather prefer R&J and “Manon”, though Macmillan duets are really breathtaking, inventive and emotional. I also had a chance to see his three small ballets – “The Judas Tree”, “Gloria” and “Songs of the Earth”. I liked the last two of them, especially the “Song…”. A. Dowell’s “Swan Lake” was very intriguing, and I was rather skeptical about it, fearing that this is the case of “taking charcoal to Manchester”. And – what a surprise – I thought it to be more Petipa-like than the Moscow version, with all the mime preserved and many seemingly authentic details in the swan scenes. Of course the first act looked very funny, even ridiculous, to my eyes, especially in the effort to recreate the atmosphere of the 19th century Russia (why Russia? The story has German origin and the prince is supposed to be called Ziegfrid!).In the performance I attended the main parts were danced by Tamara Rojo and Carlos Acosta. Their dancing was so wonderful that I just forgot all the funny moments and the fact that Acosta looks neither like Russian nor German prince. In the 3-d act variation he demonstrated unthinkable virtuosity, but never acrobatic tricks, and his Prince was so noble in his movements. In general he was the real hero of this tour! Rojo impressed by the purity of her dance and acting,both reserved and convincing. Still many of Moscow ballet-lovers were very skeptical about her lines, and not only hers. We are a bit spoilt by the long legs and exquisite line of Russian ballerinasJ). But I’d rather prefer steady and pure dancing to beautiful forms. I haven’t seen Jochida in “Swan Lake”, but everybody said she was not a swan at all. But she was just wonderful in Ashton’s “Ballet Scenes” and in pdd from “La Fille mal gardee” at the gala. There were several numbers at the gala danced by mixed pairs from the Royal and the Bolshoi. One of our favorites Masha Alexandrova was lucky to dance “Le Corsair” pdd with Acosta. He showed himself as a brilliant partner and again and again as virtuoso dancer. Masha was wonderful in Adagio, but, alas, less precise in the variation and coda. Sadly enough, Ivan Putrov, whom the public liked in “Swan Lake” for his softness, accuracy and romantic looks, showed at the final gala a very unstable, even sloppy Solor – not a best choice for him, I guess. Now we're looking forward to seeing them in SPb with Guillem& Le Riche in "Marguerite and Armand", Cojokaru&Kobborg in R&J, etc.

The word "lousy", which was used in my posting, was chosen only for one reason - to point out the controversy of the decision of the jury. If the whole performance (two Petit ballets) are decided to be the best plus the two roles he created as well, why not give him the prize for the choreography, which is not just a trifle in a ballet performance? The alternative for these thoughts is that the chosen bests are not 100% best. Sorry, if my attempt to express a bit of irony failed.

One more reason for irony: the fact that Roland Petit was not awarded the prize. My interpretation is that the ballets and the roles won the Golden Mask IN SPITE of the lousy choreography:)). The ends do not seem to meet in this decision. At the same time the jury neglected two works of a young inventive and surely talented choreographer Alexei Ratmansky. My preferences here are with his ballet “Lea”. It was produced by a small company, led by Alexei Fadeechev and Nina Ananiashvily, which still managed to become a rival for the Bolshoi and Mariinsky. It won the hearts of the public and the minds of the critics, which is a rare occasion. From my point of view a very serious competition was among nominated female dancers. All of them – Ananiashvili (Lea), Vishneva(Cinderella), Liepa (La Dame Pique) created spectacular roles, among which Liepa’s role is the least dancing, beeing based more on plastic movements and acting, than dancing. I’d rather leave out my comments about male dancers, since the level of the competition in this nomination wasn’t as strong as among females. Personally for me the prizewinner role itself and it’s interpretation was far from revelation.

Sorry, but I forgot to add that my lack of enthusiasm about Lun'kina as Odette-Odille may be greatly amplified by the fact that I am an antagonist of this pseudefreidist version of "Swan Lake".

Inga is right, sometimes you come over things you are not prepared for. For example I hardly could imagine Lun'kina as Odille, but in this role she demonstraated some character and was almost convincing, though technically far from perfect. In contrast to this I was ready for a sort of revelation in the part of Odette, but to be frank I was dissapointed. As a whole Lun'kina's performance looked for me more like a well learned lesson than a piece of art, though I am sure that her appearance, beautiful lines and schooling are very promising. I also think that the time for this debut wasn't chosen well. Svetlana had to rehearse two difficult major roles of entirely diiferent technique at the same (short) time. It's not her fault, of course, but her coach (Maximova) had to take that into consideration. I also want to point out that Maximova, whom I just adore as a ballerina, danced "Swan Lake" not more than several times (I guess it was not considered a suitable role for her). But here in the Bolshoi there is a practice to have ONE coach for everything rather than different coaches for different ballets. This system seems to me rather controversial.

"Agon" as well as "Symphony in C" and "Mozartiana", which formed Balanachine tripple-bill in the Bolshoi, was exiled from the repertory after the change of the administration in the autumn 2000. Eifman's "Russian Hamlet" had the same fate. So two really succesful major roles, performed by Alexandrova, are stored now.

It's true that Masha Alexandrova was only nominated for the Golden Mask and never got it since the administration of the Bolshoi was not willing to show the ballet at the Golden Mask Festival (which is obligatory to participate in the competition). As a result both "Pharaoh's Daughter" and Masha were stroke off the list of the nominees. Now Alexandrova is preparing the leading part (Aspiccia) in the same ballet. Her debut is scheduled for twenty something of March. Since Aspiccia has a lot of rather difficult and diverse dancing in this old-new ballet, it is a great chance for a young ballerina to make a show-off of her abilities. Somehow I am sure Alexandrova will be able to take advantage of this. The sad point of the situation is that her partner is not announced yet. The premiers of the Bolshoi are not enthusiastic to spend their precious time and efforts for a tiresome ballet which is performed not more than a couple of times in a season and seems to be unfit ( from the administration's point of view!) for foreign tours.

Yes, these sad rumours seem to be very realistic, since they come to Moscow from different sources, all of them reliable. The other sad news (again not official) about the Festival: Malakhov is not coming. Lopatkina tried to begin class, but all in vain - her foot aches in spite of many medical procedures she has taken. Now she is supposed to be in the US ( invited by Baryshnikov) to be consulted by american doctors. Her eight months child is wonderful and healthy, which is a supreme joy for a devoted mother as Uliyana.

Kevin, do you know by chance what ballet Malakhov is supposed to dance?

I can confirm that Vishneva is planning to dance "Swan Lake" in Berlin (I think that is supposed to be in May) and Balanchine's "Ballet Imperial" (the premiere is planned for May 3d). On the 21 st of December she is dancing "Giselle" with Malakhov in Greece (Maria Alexandrova is invited there to dance Mirtha).What to "The Dame with Cammelias" she hasn't mentioned that while visiting Berlin to dance in "La Bayadere" and I am not sure I've seen this ballet in the repertoir for this season, but I must check.

Thanks for the proposal. I'll try to do my best, but please give me some time. After a week in Berlin there are a lot obligations which are too pressing at the moment.

Yes, Dale, by my information (which is from reliable sources) they will have two performances in the summer season of ABT in the first decade of June. Hope, that nothing will change these plans.

On December 14th it was announced, that Malakhov was awarded the prestigious Nijinsky Prize as a best male-dancer 2002. Unfortunately he could not be present at the ceremony in Monako (though he intended to be there) because the balerina, who was to dance in the second cast of Malakhov's "La Bayadere" at the Staatsopera (the premiere was on December 8th) got flu, so the first cast (Vishneva-Malakhov) had to remain in Berlin and dance the performance. I had a happy chance to see them on the opening night and was greatly fascinated by the harmony and chemistry existing in this duet. As far as I know they will be dancing R&J at ABT in June and already envy the new yorkers who will see them. It seems to me that another perfect partnership is on the way (knocking the wood!).

Sorry, but I think that both Volochkova and Ivanchenko were not more than pale shades of Carmen and Jose. They nearly ruined my unforgettable impressions of the "Carmen-suite" I sherish for years since I've seen it for the first time. After seeing this performanced I was forced to use as a remedy a video-tape with Maya Plisetskaya. I can assure you that 99% of Moscow balletomanes had similar feelings.

Sorry, but nobody borrowed anybody or anything. It was the stage of the Kremlin Palace of Congresses that was rented by Bolshoi for two performances of "La Fille"(Gracheva/Tsiskaridze). Next three performances were given in the Bolshoi in May (Ananiashvili/Filin; Lun'kina/Belogolovtsev(?).

Let me try to reveal a bit the plans for the new "Ondine" through a brief glance on the history of the ballet. "Ondine" based on Pugni's score was staged by J.Perrot in 1843 in London for F.Cerito who contributed the choreography as well. In 1851 he mounted a new version of this ballet in St.Petersburg under the title " The Naiad and the Fisherman" with C.Grisi in the role of Ondine. " On July 11/23 of the same year, which was the name day of Grand Duchess Olga Nikolaevna, the Gala Performance was given at Peterhof in the open air. On this occasion the ballet was produced by Perrot on a specially-built platform, raised just above the surface of the water , in the lake by the Ozerky Pavilion. The naiads glided to the platform in boats shaped like shells. The natural scenery of the trees, with addition of a few tropical plants, made a charming setting. The weather was fine and a beautiful moon shone down upon the scene" (C.Beaumont. Complete Book of Ballets). In 1892 the ballet was recreated by M.Petipa, then in 1903 by Shyriaev. The latest staging in Russia took place in 1984 at Kirov and (a suite) at Bolshoi (a version by P.Gusev). According to Pierre Lacotte his staging will be both in the style of Perrot and Petipa. He does not claim the new ballet to be a reconstruction, since almost nothing remained of the original productions. That will be his own interpretation based on old books, documents and his knowledge of the old ballet styles. Luckily Pugni's score for Perrot's London production survived and was found in the archives. But it differs from the one used in St. Petersburg. Lacotte is going to combine the best pieces from both. He will also work all by himself on the design and costumes, as he already did in "Pharaoh's daughter", staged for Bolshoi in 2000, and it proved to be a spectacular work. Another remark to the program of the 3-d fest. As far as I know the Bolshoi planned to participate in it with Roland Petit ballets (Passacalia & Pikovaya Dama - La Dame de Pique), instead the program gives "La Fille Mal Gardee". Those who understand Russian are cordially invited to visit http://forum.balet.ru for the latest news from Bolshoi (and not only from there).

On the 1-st Mariinsky Festival they recreated the suite from "Gayane" with the sable dance and one of Armen's variations. Luckily that was filmed and shown on TV. Armen's variation danced by Nureyev exists on the tape called "Firestone Dances". He is still young and wonderfully savage in it. Other excerpts available are on the Kirov tape already mentioned here. I hadn't time to check, but as far as I remember Nune is the name of the heroine, rather typical for Armenia. In one of the numerous books on Nureyev I have seen photoes of him partnering Fontein in a scene from this ballet. Hope they were filmed and some day will be released as well as many others. I've checked in catalogues of NY Library and found out they have quite a number of Nureyev dancing filmed, not available on the video market. Next year in Jan. will be 10 years since his death and I do hope TV will show something new. Returning to "Gayane". From the Russian ballet magazine I have learned that Boris Eifman staged it in Riga ( I do not remember when, but I guess long ago, since it was mentioned that Khachaturian was very pleased with his work). The performance was filmed, but there is no information whether it exists or not. I even tried to find out this personally from Eifman, but his answer was rather uncertain and vague.