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Angelique

Inactive Member
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Everything posted by Angelique

  1. Thank you, alexaa1a! Some folks are very disappointed for not being able to catch Alinas Nikiya in London, since they flew across the pond just for that one performance. Now, that you explained the reason why, I am sure they will understand. Although I have never seen Sergey on stage, my heart goes out to his family and friends. All dancers go to heaven.
  2. Individual opinion, yes, but golden! Just like Golden is the Mask Award for The Tsar Maiden.
  3. Personally, I can't speak for "people". I consider myself just a member of the audience, nothing more, nothing less. Back to Bessmertnova. She was certainly technically strong but she was not a virtuoso. Not the way Natalia Dudinskaya or Michail Barishnikov were. This however doesn’t take anything away from Bessmertnova’s greatness. There is a point where technical virtuosity starts to overpower other aspects of a performance and a performer, Osipova being *the* poster child of this phenomenon (Thank God Somova is not Osipova!). “Ulanova, Plisestskaya, Kolpakova, Fonteyn, Seymour
  4. Well, I can. Besides, technical virtuoso Bessmertnova was not. I also got carried away a bit in my previous post stating that Kolpakova doesn’t do it for me. She certainly does, but not the other Kirov period dancers mentioned in the same sentence, no matter how highly revered they might be by others.
  5. Ohhhh, Bessmertnova!!!! No, I haven’t seen her dancing live. But what I‘ve seen on video and DVD made me believe that it is Natalia B. who is the greatest dancer of the 20th Century. You might ask “what about Pavlova or Spessivtseva?” Unfortunately there isn’t much film about them that survived the cataclysms of history. On the other hand films about Bessmernova exist and they effect me on many levels, emotional as well as intellectual. Her dancing doesn’t seem to belong to any particular period, but remain contemporary and fresh even now. She is not of this world, rather the one w
  6. Helene, I want to thank you for this most valuable information. While visiting dancers’ threads, I tend to be reluctant to express an opinion unless it is a positive one, at least for the most part. Now I know that it is OK to express an alternate opinion about dancers who are not as well known, or as frequently discussed as Alina Somova.
  7. Oh, that makes me proud. Proud of being able to uphold my very own and heart-felt opinion in spite of the majority or rather a vocal minority. Alina Somova is the Principal of the greatest classical company in the world (author’s opinion) and nothing, but absolutely nothing can change this. She is not Bessmertnova. Not yet. One day! I will give you one, Simon, – the Principal is underdog no longer.
  8. What I am struggling to understand, Simon G. is why you and the like minded people happen to express yourself in the thread of a dancer you don't champion? Wouldn’t it be better for one’s health and enjoyment of life to express oneself in the thread of a dancer that your crowd wants to advance?? Aren't lovers more preferable than haters??? Perhaps you like to trash the beloved by many Somova just for the sake of trashing? Well, I don’t think it works. There is an unwritten rule of fair play and deep-rooted tendency with most Americans to cheer for the underdog. So you see, your “sop
  9. I don’t believe in skewing casting in favor of any one dancer. In fact a new battalion of Mariinsky graces are now waiting in the wings and it won’t be long before the same passionate debates (at least I hope) would be raging around them. No dancer, no matter how great, should dominate the repertoire. Don't go to see Somova if you do not understand her style. Attend performances with dancers that you happen to like. Ars longa, vita brevis. PS. “snide” as you put it is OK, even if it smacks of self-righteousness. In fact it is the shining example of that strong emotion that sizz
  10. Personally I would not recommend to anyone to go see a dancer who does appeal to you. Mariinsky has wide spectrum of performers to satisfy just about every taste. I would like to draw my own comparisons. Obraztsova is certainly musical and graceful the way only petite dancers tend to be. But to me she can be boring. Evgenia remains her charming self whether she portrays tragic Giselle or happy Aurora. Somova is infinitely more versatile. One can never predict which side of her artistic self she is going to reveal in a particular performance. Tereshkina possesses perfect technique,
  11. Having watched Somova's breathtaking Nikiya live, I find her to be a powerful classical dancer. But Bessmertnova, no she is not. May be some day...
  12. Apologies. It is Ratmansky, of course. Not “Rot” and certainly not “rotten”. But to be completely honest, I do not favor his ballets, Karenina being the worst of the bunch. Call it a freudian slip ) On the other hand I enjoyed Alonso’s concise choreography of Carmen quite a bit.
  13. Greenwich Time reviews Alina Somova's performance as Tsar Maiden in Rotmansky's "The Little Humpbacked Horse": Mariinsky Ballet loosens up in appealing NY run
  14. Really? I know they are students but I was astounded at how *UN* synchronized they were. The leader very beautifully and elegantly lifts her leg to arabesque in a continuous movement. The lead is Olga Smirnova, star student of the graduation class. She too made some surprising missteps. Regardless, she moves like a dream, combining gymnastics like arabesques and attitudes (personally I don't have a problem with them) with articulate connecting steps, which remain the soul of Petipa’s ingenious choreography. As far as the whole ensemble goes, to periphrases Mm. Assylmuratova - “The Shad
  15. To elaborate further on too narrowly defined technique, it is my believe that high extension has been singled out unjustly as *the* violator of classical dance esthetics. Why, a dancer who can mount a very high but poorly positioned jump with feet turned in and arms stretched out in “Misses Moore!” exclamation is far worse. And what about triple fouete turns that don’t even open a la seconde?
  16. Indeed. There is no way strong jumps, high extensions and triple fouette turns can possibly compensate for the delicious connecting pas and sense of pose, which go back to the Imperial Ballet and is the soul of Petipa’s choreography. However, nowadays top notch classical dancer is expected to combine all of the above.
  17. She was certainly great master of "whisper" and half-tones. Someone wrote that Ulanova danced fear. Her dance as that of her partner Sergeyev is so pure, pristine even. But I wonder if it would have the same effect now. And I don't mean on a small audience of balletomanes, but on a broader one that come to expect everything to be faster, higher and yes, flashier.
  18. No apologies are warranted, YID as it is another member who brought up the subject of Alina Somova’s schedule. Apparently I missed the announcement of cancellation of Millepied’s new piece at the aforementioned Gala. Now, that you clarified the matter I don't feel so bad for having missed the event, although I am quite sure there were many other marvelous dancers and pieces to be enjoyed.
  19. I probably shouldn’t respond to the old song... But truth is more important. At the time of Mariinsky Canadian tour, Ms. Somova and Alessio Carbone (Paris Opera Ballet) were preparing for World premier of Benjamin Milliepid's new ballet, which was shown at YAGP 2011 Gala: "STARS OF TODAY MEET THE STARS OF TOMORROW".
  20. That’s just it, Simon. Unlike yourself, I don’t see acrobatics in Skoric’s closing pas. What I see is altogether different, a metaphor of sorts. Mind that it is not executed at the beginning of the adagio, rather at its end. Didn’t Odette want to set herself free? Didn't Odile want to capture the Prince with her own charms as well as her startling resemblance to Odette? Your point of view is exceedingly interesting and in many aspects I agree with it. Yes, in many if not most Petipa’s ballets such a skewed position would be an overkill. "Swan Lake" is different in many way
  21. I beg to differ. There is something inappropriate in referring to audiences as “trained” or “untrained”. A theatre goer is not a pony after all. I have been regularly attending ballet performances for 8 years and not only by Mariinsky, but POB, ROH, Danish Royal, BT, ABT, NYCB, La Scala and many other famous companies and not so famous too. So I am quite certain that I have not just one, but several frames of reference. Oksana Skoric’s winged pose which provoked this discussion is not just impressive but expressive, i.e. it means something. To emotionally move those in the audience, to touch p
  22. You brought up an interesting point, Catherine. Indeed, "Swan Lake" is unlike any other Petipa’s ballet. Perhaps it was the influence of Leo Ivanov (then assistant choreographer to Marius Petipa) that rendered it such, perhaps the legendary choreographer himself was on the way to a more symphonic compositional structure to which "Raymonda" stands a witness. But "Swan Lake" is like no other classical ballet before or after. The closest epithet I can come with is ballet-poem, hence a different movement lexicon
  23. Just out of interest I took a second look at the frame @ 1:34 and thought it absolutely beautiful. Wing like working leg creates a metaphor for a bird ready to take to the skies. In this particular case square hips would render the pose less dynamic, even stale.
  24. Not sure I can totally agree about Diana. Yes, she was able to embrace other schools and styles of dance, thus becoming a truly global ballet star. When dancing Aurora, however, which along with The Swan Lake constitutes the very core of Mariinsky repertoire, Vishneva was quintessential Imperial ballerina - the proudly set back, those gorgeous arms, the unmistakably Mariinsky port de bras. What is most important, however, it is her profound understanding of the Imperial style, that made her one of, if not the best Mariinsky Auroras. Of course I don’t take into account Malakhov's stag
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