Angelique

Not sure where the above logic leads, but as it is, the position of Artistic Director of the Bolshoi had been offered to Makher Vaziev first and foremost, fact which *was widely reported in mainstream press. Kudos to Mr. Vaziev for having put professional ethics first most and not breaking the contract with one of Europe's leading cultural institutions in the middle of the run. Please view actual quotes here. *Edited to replace "press release" with "mainstream press" and added link to the quotations from the press.

Drew, if we base our conclusions on Russia’s official press, former Artistic Director Burlaka wants to devote himself to what he loves most – restoring old ballets.

Obraztsova as Swan Queen??? Surely, Natalia, you are kidding. Can't imagine a more, hmm... how do I put it politely? Can't think of a dancer who is less suited for the role. Perhaps Filin was looking for a more down to earth, so to say, dancer? In which case, Portman look-alike Osipova is bound to follow as Odette once Sergei warms up in his new role as Bolshoi’s AD.

I beg to differ! Firstly, such atrocious action would not be characteristic of Moscowvite audience at all, whom I know to be warm and appreciative. From reading memoirs of Ekaterina Maximova “Madame Nyet” one could gather that oddities like that could had taken place in the past, but were a product of bitter professional rivalry. Not audiences, for such wicked ideas usually spring up deep inside compromised psychic of few (very few, thank God) balletomanes deprived of life of their own and/or retiring and not successful dancers. Disclaimer: Reference to a disreputable bunch of balletomanes is in no way concerns anyone on this board. Rather it puts out a rhetorical question of: what kind of person would choose to perform such an act of barbarism as appose to simply skipping a performance with a dancer one doesn’t particularly care for?

Indeed. And although quite outside the titled topic, the side conversation above was most illuminating in more than one way. For one-er, I learnt that fora tend to be pro- or anti-Somova, as if it were outside the realm of possible for a group of intelligent adults to house a variety of opinions. But then again, if one could answer this question, there wouldn't be wars, would there? And goodness, yes, I am looking forward to Mariinsky’s visits on either coasts of North America and in Europe too.

Well Somova will be in Toronto, but "Swan Lake" does not have the same effect on me in general. Personally, I would have gone with "La Bayadere", regardless of the cast.

Brave Clarice (Natalia)! Venturing winter weather, chills and thrills, not to mention the airports! to see Mariinsky "Bayadere". Fine investment, I must say, as it is bound to return dividends in pure and incomparable joy ten-fold! little-junkie, from where I come from, Somova is a genuine artist. But, and here it is... if you are looking for a more traditional style with rounded arms and such, this is not your dancer. Alina Somova is a bit of a maverick and is determined to walk her own path.

Natalia you are right. Somova's site lists her for Toronto tour only. In general, dancers’ personal sites tend to be more accurate as far as their own appearances go. Haven't seen Kondaurova as Nikia yet. Odette-Odile and Nikia are the two quintessential roles that make Mariinsky principals.

Indeed. Save for Asylmuratova, perhaps (La Bayadere / Asylmuratova, Bussell, Dowell, Mukhamedov; Lanchbery, Royal Ballet. DVD). I start to suspect that in order to release the pent-up energy stored in the core of the scene, one must have some middle Eastern blood in her.

I watched Mariinsky "Bayadere" performed on stage of the beloved Kennedy Center and also "The Kingdom of the Shades" act presented in NYC at the NYCC - Natalia, please remind me what year was that. Anywayz, I was so captivated by its powerful human drama which unfolded right in front of my eyes and even more so by Marius Petipas potent choreography powered by divine logic, that up to this day "La Bayadere" remains my favorite ballet and the most powerful theatrical experience in my life. In fact, I prefer it to "Swan Lake". As far as cast goes, I dont see how one can go wrong with any Mariinsky cast, provided that lead roles are performed by company's Principals and/or First soloists. What a magnificent show it is! I see what I can to to jet there myself.

Personally, Natalia, I don’t believe that Somova will, wants to or needs to change for that matter. Improve yes. She would not portray what she can’t understand or feel and heavens know, ballet is infused with not so subtle mime and decorum. She is a maverick and being one in ballet is hard. Is Somova strong or big enough to weather the storm and make her own mark? Or perhaps there is no such thing as bad publicity after all. Much as I like Alina Somova, I find it a bit disheartening that many good discussions of Mariinsky inevitably lead to debates about her. I was very impressed with Tereshkina’s performance in the Mad Scene. It was more conventional than Samova’s, granted, but just as fine in its delivery and just as powerful in its effect. Shklyarov, what a big artist he developed into! And what about Kondaurova? She is bigger than life and I don’t mean her statue, rather broad and rich quality of her dancing. The past tour proved to me once more what a huge draw Mariinsky remains, to which "Sold Out" signs bore witness. After five plus years of regularly attending ballet, I remain Mariinsky’s most ardent fan, precisely because of diversity of its talent and unmatched quality of its corps ensemble. What brought me to ballet in the first place? It was Somova and Sarafanov performing on stage of the Kennedy Center.

One would think that Balanchine is well represented by NYCB, Farrell's very own company too, at least as far as Kennedy Center appearances are concerned. I hope they bring Petipa classics to end the ten year run in grad fashion! But then again, this has nothing to do with any official information. I just ballet-talk here

Retraction: while the first statement written by me is factually supported, the rest of the quoted text reflects personal feeling of sadness and concern if the end of ten year contract would mean the end of Mariinsky's regular appearances on stage of The Kennedy Center.

Joel Lobenthal writes a review on Mariinsky "Giselle" at the Kennedy Center, in witch both Diana Vishneva and Alina Somova are highly praised:"It's Not Easy to be Noble".

I certainly hope this doesn't mean "the end of future Kirov seasons at the Kennedy Center after next year". Do you have information that there will definitely be regular appearances of Mariinsky at the Kennedy Center after next year?

TI wonder what will be shown next and the final year of Mariinsky’s contract with the Kennedy Center. Swan Lake, perhaps? It is possible of course, that the contract is renewed but with all budget cuts effecting education and culture, I am not very optimistic.

Are you saying that everyone who does not appreciate Somova is living in the past and applying old-fashioned and out-of-date standards towards her performances? I would not dream to speak of "everyone" regardless of which side of the divide one stands, regarding this or any other subject for that matter. In quoted text Somova is not even mentioned, as I was speaking in very general terms of classical ballet being conservative by definition.

It’s a given that unconventional manner of dancing is bound to provoke heated debates. Originality and boldness do not go hand in hand with classical ballet where tastes are set and die hard fans maintain their preference for a particular generation of dancers. Novelty comes at a price. But controversy in its own weird way ignites curiosity and helps to maintain public interest towards the art form which many consider archaic. Old reviews and talk of Vishneva testify that some 10 years ago she was the one who was deforming classical line and destroying highly revered Kirov (then) style. Now Vishneva became almost conventional and it is Somova who is la fille mal gardée of Mariinky. I won’t presume predicting her future and after all, Somova is not more than 25 yo. All I can hope for is an opportunity to share my impressions about performances without fear of being bullied for no other reason than liking a particular artist. Having a box seat, I missed many finer aspects of Alina's acting in Act 1, yet sheer beauty of her line and sailing quality of her motion in the White act stopped my heartbeat on more than one occasion.

Fully realizing imperfections of teenaged Somova, I must admit that I liked her then even more. There was Spring like freshness and abundance of joy in her dance which were both powerful and endearing. Alina’s line is now more refined to be sure, she is much more in control of her longer than long limbs and indeed, she became a consummate actress ... but and here it is, I enjoyed performances of younger Somova at least as much.

[Admin note: this topic was originally raised in the "Giselle" at the Kennedy Center thread. Thanks to Angelique for raising it!] 2012 will mark last of the ten year contract between Mariinsky and The Kennedy Center. Their absence in years to come is bound to create void in cultural life of the capital as the Kennedy Center audiences came to regard Mariinsky as their own. Having attended their performances for the last five years, I will miss them greatly.

Haven followed this board for some time, I didnt dare to write here because of perplexing and persistent ill will toward a certain dancer. Now that equilibrium is more or less restored I dare to express my own views on the last week performances at the Kennedy Center. Friday night (the 11th ) was truly magical, especially the 2nd act. Always stellar corps de ballet provoked enthusiastic applause as the white clad lines of Willis were moving forward in small sautés. Alina Somova surprised me as I did not consider her to be Romantic material. Exceptionally soft quality of her dancing made her appear truly other worldly. Evgeny Ivanchenko was good, if not a particularly inspiring or aristocratic in the role of Albrecht. I also have high praises for Tereshkina-Giselle and Shklyarov-Albrecht (matinee of February 12th) who lived and breathed their respective roles. Ekaterina Konaurova was beyond gorgeous as Myrtha, perhaps the best Myrtha I have seen. Valeria Martinyuk and Alexey Timofeev were better of the two casts of Peasant pdd. I believe that Mariinky has refreshed the production with new costumes for the first act, for the stage looked livelier than I remember from their last tour of Giselle. The orchestra was disappointedly uneven and when Tereshkina made a courtesy in the direction of the orchestra pit, there was hardly a sole there, as they promptly dashed out the minute music stopped. On the whole, I give Mariinsky 8.5 out of 10 this tour season and already looking foward towards the company's next year engagement at the Kennedy Center.