Birdsall

On Monday (Jan. 7) I was walking past the Alexandrinsky Theatre in St. Petersburg knowing the Yacobsen Ballet was doing Swan Lake but it had already started. I decided to see if I could still get a ticket at a discount since it already started and by my estimate I had already missed the first scene. The man I asked told me to follow him and let me in for free and let me scoot in as the first scene was still going on! I report this because if anyone is ever in St. Petersburg with nothing playing at the Mariinsky, this troupe was nothing to laugh at. They were not as polished as the Mariinsky but better than American companies I have seen. The sets were not the best and leaps were not as high, and ballerinas were not quite as skinny as Mariinsky dancers, but to my eyes it looked like most of them were Vaganova trained. I really enjoyed it because I went in with low expectations and was pleasantly surprised. The audience was made up of Asians and Germans from what I could tell and huge buses waited outside, so this company caters mostly to tourists who simply want to say they saw "Russian Ballet ." Most of them probably have no idea that the Mariinsky is where you get the hard drug! LOL BUT with that said if you are in SP for business with only one night to spare for a show and the Mariinsky has no ballet that night, this is not a bad company to see.

Chopiniana was great last night! OMG! The flowing legato arms of everyone! Like watching true fairies! Lopatkina was great as Marguerite the previous night ! More later! Off to Moscow for the day!

Thanks, kbarber! It has made the trip more difficult. That is for sure. But while in the Mariinsky Theatre I forget my pain for a while. I am glad I have seen all the sights of the city that I wanted to see on the previous trips so that it doesn't upset me to take it easy. Today all I did was rest in my hotel room for the most part.

Thanks, Kristen! I have been sleeping a lot in between walks around the city. The pain killers make me drowsy. Just saw a triple bill: Chopiniana, In the Night, and the Mariinsky's premiere of Marguerite and Armand. I will review after seeing the same program tomorrow with a different cast. I like Ashton ballets from what I've seen, but Marguerite and Armand is not a favorite Ashton which is strange since I love La Traviata !!! But tonight Lopatkina made the ballet seem better and deeper than it was. I can't wait to see Tereshkina to compare/contrast! Last night I saw the Yacobsen Ballet in Swan Lake at the Alexandrinsky Theatre but haven't had time to write about it either. Trying to sleep as much as I can in hopes my ribs heal faster and then I cut myself off the pain killers in the afternoon so I won't fall asleep at the ballet!!!

Thanks, Drew! It was the worst time for me to break ribs. I took my dog to the dog park, and she and another dog ran into the back of my legs sending my legs flying into the air and I crashed on my back. I was yelling in pain for minutes and could not get up for a while. It happened a week ago. Just starting to feel better. Swan Lake kept my mind off the pain last night. LOL

Mathilde K., Will you be at Tuesday's Chopiniana/In the Night:Marguerite and Armand? I will be there as well as every other ballet until July 16. If you want to meet, let me know! Bart Birdsall

I just posted a review of her second Swan Lake under the 2014 White Nights thread. I think you will be happy you purchased tickets for her.

I think there is nothing more beautiful than seeing Swan Lake at the Mariinsky Theatre. I know the place shouldn't matter, but to me it does. Seeing all the dancers on stage dancing with the Vaganova style in that jewel box setting makes the legato arms and fluid upper bodies all make sense. A unique style not even found at the Bolshoi that is almost magical! And in that theatre even more magical! I worry that Swan Lake could eventually move to M-2 in the future. Sleeping Beauty continues to only show at M-2 since they placed it there. Swan Lake goes back and forth so far. What makes me worried is the M-2 fire curtain has a lake with one large white feather ! So the powers that be may want Swan Lake to play there more and more to get people to go to M-2 (I went to M-2 three times and it was only half full each time while the historic theatre looks sold out every time)! So hurry and see Swan Lake at the historic house before something bad happens!!! To me you have not seen them do Swan Lake until you've seen them do it in the historic gorgeous theatre!!!! Tonight Yulia Stepanova danced her 2nd ever Swan Lake and she is a young dancer who has a very strong presence on stage. Her Odile is as confident and "bitchy" as Tereshkina's. Her Odette has the swan-like arms only Vaganova trained dancers seem to have. My favorite moment is when Odette lifts one leg and totally falls back as Siegfried catches her. Stepanova's arms and hands undulated after the fall into his arms. Many more famous dancers even Mariinsky ones do not add this detail (Lopatkina does). Basically, this is a dancer who I think will get better and better as she does this role because she is already adding details many other more famous dancers do not. I know someone asked on this forum about the frappes during Odile's variation and Fateyev claimed no one at Mariinsky can do them (apparently as a sarcastic joke). Well, Stepanova did them. The only mistake I saw was during Odile's variation. It looked like an almost stumble after the first renverse but she made up for it in the second excellent one. The audience loved her ! The only other problems I saw was during partnering, and it often looked like she and Xander Parish were not a great match. To me this was especially noticeable during overhead assisted turns. I am not a dancer so I don't know whose fault this was, but it did look like she was aiming to do more turns but something slowed her down. In his solos Parish was very good and he acted well, but Andrei Yermakov as Rothbart blew the house down leaping and spinning like a legend!!! I want to see Yermakov dance Siegfried one day! He almost stole the show whenever he came on stage !!! He seemed more comfortable lifting Stepanova also! During the prince's friends pas de trois the two females were complete opposites. Nadezhda Batoeva was all elegance and beauty showing her solid Vaganova training. The upper body is where you see the difference. Nadezhda Gonchar is a solid dancer from the waist down but could have been an American dancer if only looking at her from the waist up! Stiff and not as elegant as most Mariinsky dancers, in my opinion. Kimin Kim did a strange couple of moves at the beginning of his variation. Normally he is great, but whatever he interpolated looked very awkward to me. I think he should keep it traditional. I can 't really explain b/c it took me by surprise what he did. Well, off to bed....can't think anymore. Still on pain medicine for my fractured ribs and have to be ready at 8am to go visit Novgorod!

After 24 hours of traveling with two fractured ribs and on pain medication I arrived at 5:30pm Russian time and checked into my hotel near the Mariinsky and went over and got a ticket for tonight's program: Le Carnaval and The Young Lady and the Hooligan. I had not planned to see it because it would be last minute and I would be exhausted but I didn't feel bad so I went. Le Carnaval is such a light, frothy ballet with so little substance, in my opinion. However, it is a pretty ballet. Margarita Frolova and Alexei Popov were delightful as Columbine and Harlequin. Yana Selina was a stand out as Papillon The Young Lady and the Hooligan is the type of hokey ballet that only works if you have Svetlana Ivanova and Kuznetsov giving their all and truly believing in the work. Viktoria Krasnokutskaya and Anton Korsakov did nothing wrong. They just didn't live and breathe their roles like the two mentioned. I simply couldn't believe Korsakov as the leader of a group of thugs. I could tell both leads were trying their hardest but neither was believable in their roles. The Young Lady and the Hooligan comes off as dated and melodramatic if the leads do not have the gravitas that Ivanova and Kuznetsov have. I felt like I was watching The Jr. Young Lady and the Jr. Hooligan. However, I still enjoyed getting a chance to see this Soviet ballet that is not done in the West.

A friend who speaks Russian said the Russian news said he was in critical condition. Not sure if this violates rules but wanted to get info out for those who care.

I agree with Drew's assessment of the theatre. I look around and say, "I can't believe I am sitting here!" when I am watching a ballet there.

If you are getting a 3 year visa you can always wait and go to St. Petersburg another trip. But La Sylphide at the historic theatre would be charming. It is nothing to sneeze at. I will see that this coming trip in July and can't wait. The Little Humpbacked Horse has terrible sets but it is actually a nice ballet, in my opinion. It is fairly modern but based in the classical vocabulary and the music is enjoyable. I saw it twice last summer (Osmolkina/Zyuzin one night and Kolegova/Sergeyev the other night) at M-2. It is no Swan Lake or Bayadere but it is a cute, charming ballet. You will go home with a smile on your face. But I would opt for La Sylphide at the historic theatre if you can't get back soon. That way you will have had the experience of that theatre! You will like the Mikhailovsky.

I do have to admit that when I walked by the Mariinsky last summer and overheard a soprano rehearsing Violetta's first act cabaletta through upstairs windows, I cringed. However, the issue at stake is that sasark is going when there is no ballet. The Mariinsky Ballet is the non plus ultra in ballet (my own opinion), but the Mariinsky Opera is not up to international standards most of the time as you imply (despite Gergiev's paying more attention to it). But I think it is a shame for sasark to be right there and not see the inside of the historic theatre, so I was suggesting opera just to be able to see a performance there at least one time. And she MIGHT luck out and get a good performance. I tend to think the Mariinsky Opera is best with the Russian operas, but if I were in St. Petersburg and there wasn't a ballet playing and I was only there for a couple of days I would probably go see anything just to get inside. My feeling is that we have no idea what might happen to that gorgeous theatre once renovation begins, so anyone in St. Petersburg should go pronto!

La Traviata is one of my favorite operas. There is one waltz after another in the score. Because Violetta is trying to live life to the fullest. It is one of the most human characters in opera, and I never tire of it. I have a theory that it is as challenging as Norma and should be approached by sopranos with a sense of awe the way they approach Norma (Norma is the Mount Everest of soprano roles). But because Traviata is such a popular opera it is common to play it often and throw in almost any type of soprano willing to sing it, but it is a long role (like Norma), requires coloratura, lots of dramatic acting, all different emotions, etc. A really good Traviata/Violetta is as rare as a really good Norma. I could go on and on about various moments in the score that almost bring tears to my eyes. It is such an incredibly lovely work. I have "Dite alla giovine" running through my mind as I type this!!! And a great Violetta will make you cry when Alfredo shows up and throws the money he wins from gambling at her in an attempt to insult her (after he has been hurt) and basically call her a prostitute. So I vote for you to go see Traviata!!! One of the most beautiful works ever composed.

The Mikhailovsky is worth seeing. Most of the dancers are Vaganova trained and not necessarily "lesser" dancers. In fact, some are better than some Mariinsky dancers. And it is a pretty theatre. But one day return and go to the Mariinsky Theatre. I can't explain the soft glow of that theatre. It is simply amazing. And, of course, seeing the dancers in that theatre is like being in a magical world for me. If I were you I would see an opera if no ballet is playing during the time you are there. Just being in the theatre is a dream come true. I am really, really worried about the impending renovation.....some say 2015; some say 2016......there is no telling what will be changed and/or what disaster could happen once they start working on it. I have no idea if they do tours of the theatre during the daytime. I never thought about that. If they do tours, maybe you could do that if there is nothing you can attend.

I can't give you much insight but maybe some hope. The same problem you had with the seating plan for the premiere was what I had every time I looked for casting. It would take me to the premiere until recently when my show (July 10 Onegin) was finally the only performance of the show left. Then, it took me to the correct casting. But before it did, there was always an option to look at the listing to the right and choose the date. It just would not go to July 10 casting immediately. So maybe look to the right hand side. Usually no matter what show you are looking at (for example, I clicked on July 10 Onegin and it took me to the info but when I clicked on casting it took me to the premiere so then I looked to the right of that and saw a whole list of Onegin and clicked on the right date in the list) there is a listing of all the performances of that ballet or opera and you can choose the date. But I think buying tickets through one of the middlemen (sites) is going to cost a lot more. I think buying directly is always better. There will be a record of the purchase and a ticket certificate to print out (the Bolshoi doesn't seem to allow printing out tickets like the Mariinsky does). I do think that they have "no tickets" set until they are ready to sell them, and I suspect next season is not on sale yet. I could be wrong, but I think that they did not have Sept. or Oct. listed until this week, and it would not sell out that fast. I think June and July "no tickets" really means "sold out" but for Sept. and Oct. it means they are not ready to sell tickets yet so be patient. Every show in Sept. and Oct. would not be sold out this soon, so I am 99% sure it simply means they are not on sale yet.

Only problem is I usually close my eyes to avoid the ugly and ridiculous productions and then I only hear but then want to stop up my ears most of the time. LOL

Florence is my favorite city in Italy. It was everything I imagined Italy to be the first time I went. The food was amazing! Venice took multiple trips to like. I found it to be a total tourist trap like Disney World in summertime. Then I went in Winter and fell in love with that city. Rome is bombastic and has its own terrific spell.

Although I just listened to a little bit I think the critic should be more alarmed by the voice than the body size. I didn't hear any singers as I was skipping around and stopping to listen to a few minutes here and there that made me want to stop and watch the whole thing. I have no problem with someone as big as Montserrat Caballe as long as they sound great! From the snippets I watched this looks like a very mediocre evening at the opera.

If my point was lost (and probably not), my main message was: down with Hollywood type singers. Let's bring any shape and size that can actually sing back on stage!!!

Portland Opera. Yes. Over-the-top. And then over then next top. I have no idea what's up with the sink. This is so common concerning the sink. Half the time in opera you have no clue what anything means even if you know the libretto and have seen the opera many times. Directors are apparently in competition with each other on who can be more outrageous. And these pics actually look more conservative than some productions. With that said I have seen some postmodern productions that worked for me. I am not totally against craziness IF it opens up more meaning for me that I didn't see before (like how a feminist perspective can make you realize that Brunnhilde is the hero Wotan has been looking for but he was so focused on a male son that he could not see her as the hero who will save mankind), but most of the time it feels like a director is just making fun of the opera and trying to make a name for himself/herself. And when you look at old videos or listen to old recordings of people like Joan Sutherland, not only was there no strain in the voice (the tone is completely rounded at all times and no "screaming") but there were also no funny faces and strain in the faces. They were trained to make opera sound and look like the easiest thing in the world. In my opinion, if you are watching a singer on stage and it looks difficult and sounds difficult, it is wrong. It should look easy as pie! An audience member should not be impressed how hard that was what she just sang. He or she should say, "Wow! That sounds easy! Maybe I'll try it at home in the shower!" and then you try it in the shower and fail miserably and say, "Wow! She was great!" But I find most singers sound like they are "getting through it" and the crazy productions, crazy costumes, and singers doing cartwheels or other physical nonsense attempts to hide the vocal deficiencies on today's stages. I truly believe opera is doomed. Most of the singers today are not going to anyone into the opera fold.

The opera world has gone to pot. I left it possibly for good. I just hear mediocre to horrendous voices on stage. Rarely outstanding. There are some great singers like Kaufmann, but for the most part I wouldn't cross the street for a free ticket to most current singers. And I think the major problem is that they are hiring for looks now and not voice. But what I find ridiculous is that they are hiring the singers for their looks yet they are coming up with the ugliest and most ridiculous sets imaginable. Why do they want Hollywood star types (who usually can't sing) and then put ridiculous sets up there with them? They want beauty in the people but surround them with ugliness! To me that makes no sense. Things are really, really, REALLY bad when I am longing for the days of Cheryl Studer, June Anderson, and Carol Vaness (all decent singers but in their heyday they did not hold a candle to Caballe, Joan Sutherland, etc). So back when I first started listening the new singers were decent but not great, but compared to most of today's singers they are goddesses. My ears were bleeding when I heard the Met's recent first cast Norma, yet I read rave reviews all over the internet. I was in shock that was what is considered good singing today. Angela Meade was much, much, much better but only got two performances and was second cast. Vincenzo Bellini was rolling in his grave! Bel canto is gone!

Even when I was just an opera lover I used to tell my opera friends that it is funny how the U.S. uses all these elaborate 3-D opera sets that are crazy, updated or outlandish productions with huge price tags, and then you see something at the Mariinsky or another European theatre with old fashioned painted backdrops, and your senses are much more fulfilled. One example is the Met's recent Ring Cycle. I know some will disagree, but they spent so much money reinforcing the stage to fit that "Machine" on the stage and it was ugly and in most scenes just sat there like a bunch of metal planks, so what was the point? To me it was the biggest production disaster in the history of opera. And probably most expensive disaster in opera. Then, you go to an opera at the Mariinsky with old fashioned painted backdrops and you feel totally involved in the magic.

I love that entr'acte. The Mariinsky does it during its Sleeping Beauty, and even though the curtain goes down, the auditorium goes dark except a spotlight on the violinist and the whole orchestra is mechanically raised during this portion, it is a breath-taking moment! It is so lovely!

I agree with you so much about the historic theatre. I knew it from opera dvds for years, but then when I was actually there it was incredible. Even better in person. It is like entering a beautiful, fantasy world. Each night I would occasionally look around and take my eyes off the stage for split seconds to take it all in and remind myself where I was, and it was hard to believe I was actually there.