bianca

So there is a little justice in Mariinsky, especially that Batoeva was promoted, I've just noticed that.

[she's doing much more than duets and trios, as she'll debut as Myrtha in Giselle, as well as Dryad Queen in DQ, one month from now, on consecutive nights. In the article, she also mentions "working on" roles in Carmen, Raymonda, Spartacus and Sylphide.]

The role in Raymonda she's been working on was probably only grand pas. I noticed her in Olesia's Raymonda, unfortunately quality of movement make her easy to recognise. I say "unfortunately" because it was rather low quality comparing to the rest.

This sentence quoted by Natalia shows exactly Fateyev's attitude: what is importnat for O/O is not acting, not strong technique, not so called 'soul', plasticity of the movements, musicality. But give him long skinny limbs and he's in heaven.

Departures:

The lovely young choryphee Evgenia Dolmatova is gone (to ???)

To Bayerische Staatsballett, as demi-soloist.

http://www.bayerische.staatsoper.de/436-ZG9tPWRvbTI-~staatsballett~ensemble~ballett.html

I'm glad to see that I'm not the only one who appreciate Stepanova. I'm her great fan since her graduation in 2009 and it pains me that three years later she's still in corps de ballet, having only two principal roles in her repertoire. Probably it would be better for her career if she was first American or any other foreigner in Mariinsky or a star of overly dramatised ballet school documentary because it's clear that great talent, acting skills, solid technique etc. is not enough for Yuri Fateyev.

It seems that many people blame Fateyev for Mariinsky situation. I follow Mariinsky videos on youtube and there was interesting comment in this video of adorable Oksana Marchuk (still in corps de ballet! She didn't even dance Amor variation in Don Quixote! This video shows Fateyev's poor casting more than any words said against him):

http://www.youtube.com/watch?v=tFJiaSZCDOA

"She's like Cinderella now (one of many), neglected by stepmother (well, in Mariinsky case it's stepfather). Fairy Godmother should finally come to Mariinsky and hit someone in the bald head before ugly stepsister become primaballerina."

I could only guess that ugly sister heading towards primaballerina is Oksana Skorik.

Sarafanov is married to Novikova now, but he used to be with Gonchar. I don't know if they were married but they were definetely in a relationship, it's even mentioned in early interview with him:

http://www.ballet.co...w_sarafanov.htm

I'm ITA with you re stagnant casting. It used to be that little swans and big swans was a showcase for promotional talent. It's become a one or two season assignment for some corps members and soloists that you've mentioned. For example, you're right that Elizaveta Cheprasova was hardly ever seen except as a cygnet - or as Masha in the Chemiakin "Nutcracker," so I can understand why she left.

She also must have been bored to death by dancing first shade variation in Bayadere. Three shades is another case of stagnant casting. Lately I can hardly remember different cast than Cheprasova, Selina, Vasnetsova/Skorik. Maybe once I had a chance to see Martynuk and Nikitina. I was always excited to see shades variation, now I'm bored even by Selina, though she's one of my favourites.

If we're talking about Mariinsky situation now I have to mention "open letter" which was posted on Russian website some months ago. It's quite long, Russian language can be problem but google translator seems to give quite intelligible translation.

http://npeterburg.ru/2012/raby-ne-my

It points many problems about casts, rehearsals and many other issues. It would be too long to write about everything, anyone who is interesting could read it. There was also good point, I don't remember if it was in this text or it was some comments I read on Russian message board, that there is one reason why Gergev needs ballet - of course it's money. Ballet makes much money, especially on tours but Gergev doesn't care about general shape of the company because there are people who will buy tickets no matter what, because they don't know and maybe they're not interested in problems inside the company. But of course it's very shortsighted policy, which in some years, if things don't change, would make Mariinsky second rate company.

Tiara said almost all I wanted to say about Fateyev's policy. There's also ruining Mariinsky ballet tradition by promoting dancers who are not Vaganova trained. I mean especially two latest Fateyev's favourites, Skorik and Askerov, both getting roles they are not prepared to dance, roles they don't deserve. It would be understandable if Mariinsky was short of talents but it's not, among coryphees and corps de ballet there are some dancers with great potential, especially girls. There's also new name in roster, Kampa, and yes, I know she was trained two years in Vaganova but she's hardly on "full" Vaganova graduates level.

Another crime commited by Fateyev is losing Ayupova who would be great coach for young Mariinsky dancers.

YouTubes are allowed on BA. I found the following showing the first-cast in the culmination of the Wedding March that opens Act II. Kondaurova (as Hyppolita) is in the middle.

It's actually from second performance, with Alexandra Iosifidi as Hyppolota and Yulia Stepanova as Helena (red costume)

From what I know Alexandra Somova is in Mariinsky but website doesn't confirm that.

Shapran is in Stanislavsky, she's listed in corps de ballet on theatre's website, but only in Russian version. Strelkov is second soloist in Mikhailovsky.

Novikova has danced the role in bits and pieces for appreciation galas before, (such as the Odile pdd for the late Kurgapkina's final gala at the Mariinsky)

Just short off topic correction - it was Moiseyeva's gala. The dancer who did Odile on Kurgapkina's gala was her pupil Tatiana Tkachenko.

Shklyarov has been promoted to principal.

In Hungarian Dance probably is supposed to be Yulia Stepanova. I highly reccomend paying attention to her, she's breathtaking in Hungarian.

New name on the roster - Timur Askerov as second soloist.

But overall Mariinsky roster looks weird - very long list of female coryphees (which could be longer since there are dancers like Stepanova, Batoeva, Frolova, Nikitina, Chereshkievich still in corps de ballet) and much shorter of second soloists; only five male first soloists and long list of male second soloists among which are many candidates to first soloists... It seems that promotions are in the air, but when? I hope they won't wait untill next season. I have my favourites and I hope for their promotion impatiently but I'm afraid that Yuri Fateyev's decision will bring more disappoitments than joy.

In any case, three years is a very long time in a young dancer's career, and she appears to have made a lot of progress.

She improved a lot and keep improving. Not everyone has to like her style but in this moment refusing her musicality and acting skills is really unfair. I disliked her for a long time and two years ago I would completely agree with most of people here but after seeing her Nikiya and Juliet last year I was stunned. She's not the same Alina with nothing more than hyperextensions and glued smile. I think that some people just have to try watch her with less of ill will.

Does anyone know more about the extra variation that Mr. Shklyarov danced tonight in the first act? Whose music is this? Who choreographed this variation and when? Who danced it first? Why is Mr. Shklyarov including it in his performances whereas other Mariinsky Albrechts do not?

This solo also can be seen in Sergeyev's Class Concert (From Landet to Vaganova), for example here at 3:50 danced by three Vaganova students.

Shklyarov must like additional solos - he also danced solo at the end of first scene of Swan Lake, which wasn't dance neither by Zaklinsky, nor Zelensky, nor Korsuntsev in commercial recordings.

I've heard that Tereshkina got very good reports from Russian audience. I've seen only photos:

http://0ika.livejournal.com/148541.html

She reminds me of Mezentseva here.

I agree that there are three first soloists deserving principal status but Kondaurova and Novikova, though I like them, are not in my list. Osmolkina and Obraztsova are obvious choices but lately I added also Anastasia Kolegova. I've seen her Gamzatti and Odette/Odile and I'm amazed by her performances. But she doesn't seem very popular in Petersburg, I have no idea why.

Good for her--but they could really use her at the Mariinsky, whether they know it or not.

What I've heard from my Petersburg friends is shocking. Ayupova did want to coach in Mariinsky but director Yuri Fateyev said that he doesn't need her. Losing her was great mistake and it seems that management will repeat it and another wonderful dancer will share Zhanna's fate. Yulia Makhalina wants to be Mariinsky coach but as Ayupova she was refused by Fateyev. My source in theatre says that it's possible that because of him she will leave company. I've seen her coaching Tatiana Tkachenko in documentary "Sacred Stage: The Mariinsky Theater" and from what she says it seems that she really enjoys it and manages it very well. Losing another coach from "old Kirov school" can't be good for Mariinsky. There are many wonderful girls among 2009 and 2010 graduates, like Frolova, Brileva, Stepanova, Batoeva and others and they would benefit having these dancers as their teachers. What is happening now in the company really makes me sad. I've heard many critics about Fateyev and now I know they are reasonable.