Birdsall

Interesting that things change and it makes sense that changing one thing causes changes in another way.

I agree with you, Mashinka! I think Pawlick's book and other sources say that normally Vaganova trained dancers can be hired as principals anywhere around the world usually. They are considered "finished" artists when they graduate. Of course, I think Skorik graduated from Perm, but to be hired for the Mariinsky stage means someone thought she was as good as a Vaganova graduate.....when so many are "finished artists" and so many can hit the ground running, so to speak, it is crazy to "give someone time" to grow and push that person over and over onto the public (and maybe push her too much since she said in Russia Today that she goes ahead and dances on injuries). With so many ballerinas who are ready and willing to hit the ground running with no extra coaching, why keep trying to fit a square peg into a round hole??? I do think administration is to blame. The whole thing seems reckless on Fateyev's part. He's going to cause injuries to dancers and make the Mariinsky look bad. A friend told me that in the past someone studied a role at the Kirov for 2 years sometimes and they did not dance it until they were 100% ready for the role. So when they debuted in the role you got a stupendous performance.

Was that common back in the Soviet era? I do notice differences between historical footage and today's style. It seems also that things are taken slower in general, although not usually as slow as Skorik's Kitri. But when you watch historical footage of something like Sleeping Beauty it almost seems comically fast because I am not used to such speed. I guess speed was valued more during that period and slower movement is more valued in our time. Maybe it goes in waves. I know in opera there have been times when less vibrato in baroque opera, for example, was the norm. Nowadays most singers use more vibrato in baroque, because it is what we want (sounds warmer and fuller). In fact most people can't stand straight/white tone singing nowadays.

Here is a new compare/contrast video: http://www.youtube.com/watch?v=LPASA_mUwZs

There have been instances also (in contrast to that Red Shoes scene) in real life where a soprano goes along smiling during rehearsals when the conductor refuses to change his tempo and the soprano goes along with it up until Opening NIght and during performance she puts on the brakes and literally forces him to follow her tempo or ruin the show. This, of course, is very risky and can potentially cause a train wreck with the orchestra, so it is not very professional and not conducive to a great night in the theatre, but it happens. It could backfire on her and ruin her performance or it could make the conductor look bad or make both look bad. All kinds of things happen. There have been famous singers who failed to fully learn the words and score and have words written on table cloths of the set to get through the performance. You would be very surprised what goes on! LOL

Buddy, This is my opinion (not necessarily the truth): Conducting a score, I believe, without the dancing enables a conductor to do exactly what he wants as far as making choices to follow the markings exactly, etc. He can also find things in the score he personally wants to highlight. However, when he is collaborating with dancers, he has to take into consideration that he might have to slow down a passage so that even a good dancer can keep up or he may have to speed up if a dancer can not hold a balance or a singer can not hold a note as long as he wishes. This was probably done since ballet and opera began. Staging an opera or ballet has always been a sort of collaboration. Some singers do exactly what the conductor tells them, but if they have star power, they can at times tell a conductor that it is too fast, they can't sing it like that, etc. and then a compromise (or a collaboration might be how they see it) takes place. Kathleen Battle reportedly stopped John Nelson and tapped out the tempo he should have to accompany her arias. THIS is rarely done and was shocking to the other singers to treat a conductor like nothing more than an accompaniment, especially in the 20th century when conductors usually had more power than singers did. Maybe in the era of the castrati and even bel canto period a singer was more important but not today. It is not normal for a singer to basically set the tempo and the conductor goes along with her wants. More often it is the other way around. I have no idea how it is for ballet dancers, but I suspect the dancers try to do what Gergiev wants, but there might be some amount of give and take since he has no choice since he is working with humans, not machines. When conducting live theatre with dancers or singers to keep in mind you sort of all have to work together. One person can not have his way completely. But Gergiev conducting a score just for an audio recording can do exactly what he envisions the score to be (whether he is right or wrong about how to conduct). Even then orchestra members can have problems with tempo, etc. and I suspect he can not always get 100% what he hears in his mind. His job is probably to coax them or convince them to do it his way and try to get the sound he wants from them. I would think he would have much more of his way with just an orchestral reading of Swan Lake than a live performance of the ballet. With a performance with dancers he has no choice but to have some give and take to how he conducts, although Gergiev can be very heavy handed and do what he wants (it seems at least). I thought he ruined his recent recording of Die Walküre! I thought, "Nina Stemme and Jonas Kaufmann!!!! How can I lose buying this new Walküre?" I have not listened to it much despite LOVING Stemme and Kaufmann.

I believe what Trieste was trying to say is that Fateyev keeps saying Skorik is an amazing Odette, and Trieste was trying to say she/he doesn't understand a ballerina being only good at Odette and nothing else, because Odette would not make or break a ballerina for Trieste (sorry about naming over and over but I don't know which pronoun to use). At least that is how I interpreted her/his comments. I could be wrong. Trieste can let us know.

Thanks for the info! What is interesting is that the two movie theaters near me have had 3D films in the past, but are doing this in 2D. I really don't care about the 3D aspect anyway, so that is fine. It is just weird that it is being touted as a special 3D event but so far many theaters are not showing it in 3D! LOL

Drew, I forgot to comment about one thing. Yes, the Mariinsky's website as far as purchasing is very, very straight forward and easy to use. Make sure to print out your tickets or the vouchers for them. I actually didn't do that and by sheer chance went back and read the instructions and realized I was supposed to. I wanted the actual hard copy ticket for my box of opera and ballet tickets over the years (I collect them in a box....when I am 80 years old I will go through the box), but the actual hard copy tickets are really not very special the way American tickets are, so you are better off simply printing them from your computer if you don't really care about having a sturdier ticket. Then you don't have to wait in line for the actual tickets. If you don't print them from your computer, you have to print the voucher and take it with you so they can find the tickets and print them at the theatre. So, yes, there are some good things about the theatre's website. I am glad you mentioned that. Online purchasing has made life easier for foreign tourists. I remember buying at La Scala used to be crazy. You had to call and speak some Italian and it still was up in the air if you got them. It was like searching for Bigfoot........so online systems have made things easier. Anytime someone complains about technology, I say, "Shut up! Opera and ballet tickets for overseas trips are easier to buy so just shut up! Get your priorities straight!" I don't care if the world has become impersonal as long as I can get my ballet tickets!!!! LOL

It still is, from 2009 with Igor Kolb. And here from last year with Korsuntsev: http://www.youtube.com/watch?v=qCI7u8eKYkc Pherank and Lidewij, Thanks for the videos. I will watch when I get home. I think I saw a small portion of Lopatkina's version, but I never watched it completely. I will have to take time and watch fully.

YAY!!!!! Yes, seeing Swan Lake at the Mariinsky with famous stars.....not too shabby!!!! LOL

Cristian, Sometimes I think really horrible things can cause a human reaction that seems inappropriate. Maybe the woman viewing the movie with rape was raped herself and her mind and body HAD to react that way. I know what you mean, but I do think humans are humans. I think we can't always judge how a particular person reacts, because there could be a good reason. When my mother and I were getting ready for my sister's funeral she and I started laughing hysterically because she was looking for something black to wear and she pulled out a black dress that was "sexy" that had belonged to my sister and laughed about my mother wearing it and what my grandmother would think. For a few minutes we thought we were TERRIBLE for laughing during such a horrible time, but our bodies and minds NEEDED to laugh. We needed something that took us out of the horror we were experiencing. After 20 years I still cry about my sister at times, and I don't think you ever get over it, but there was that moment when we laughed. Each person processes things differently, and laughter (like tears) is a RELEASE. When people see someone crying they sometimes say, "Don't cry...." Well, you would never say, "Don't laugh!" (at least not most of the time). Laughter is usually an acceptable release in public in the U.S. but crying is not. Crying indicates weakness among men and now even women b/c women are supposed to be "tough" nowadays. I think this could be the reason. People are trying to only show their tough or cool side in public, and I do think some of it has to do with pop culture. Music has to be "cool" and not sappy, etc. But if you sit down with any human being (from ANY country) and question them about their lives and tragedies in their lives, you will find tears and deep feeling. Humans are humans. Every person that walks by you has a story that would probably make you cry and admire that person. Try to remember that when you see the person behaving in a way you do not understand.

I think in American culture the "alternative" scene has caused it to be corny to cry or be moved by something. We are supposed to see irony or ridiculousness in everything because everyone is trying to be too cool for school all the time. I noticed when I worked in the schools that being "cool" was the most important thing to teens nowadays, not doing well. And I think people growing up in that atmosphere has some of that sticking in their personality even in adulthood. Look at the popular music and culture. Even the Met Gala tried to be "cool" this year.

The Mariinsky's Cinderella is okay, and I actually like the male punk fairies' variations. Be prepared for modern things and sparse sets. It entertains and is humorous at moments but anyone familiar with the more traditional Cinderellas might be scratching their heads at moments not quite sure what is going on. It will be a chance for you to see the inside of the Mariinsky II so please report back about that experience so we know what it is like!!! Sight lines, acoustics, general impression of the look of it in person. By the way, the later Cinderellas that you mention have Gergiev conducting and the same cast both nights, and I wonder if that means a dvd in the making. I noticed an Anna Netrebko Gala added on June 10 at Mariinsky II also. If you are still there you might want to get a ticket to that. She is one of the few exciting singers around, in my opinion. It only says that the program is made up of arias and scenes from Verdi operas. I can't wait to hear about your trip!!!!! I am so happy that it all turned out great for you!!!!

Martynyuk usually has terrific arms. I think it is because she is playing castanets and getting into character.

Yes, I lived in Germany, and so tradition has been rammed down Europeans' throats, so most Europeans do love new and modern things. I guess Americans have mostly modern art/pop culture, so many of us like to finally get some traditional stuff sometimes! LOL I am also half Japanese, and for some reason classical arts appeal to us a lot.

Just noticed that Lopatkina will dance in Little Humpbacked Horse on June 25. Very unusual casting it seems to me. At one point the Princess has to do some pop dancing. She seems to be trying out new things (Midsummer Night's Dream earlier in the year and now this).....

fififi, Thanks for posting the link to that interview. I do not understand Fateyev at all. He loves Skorik and protects her no matter if she cancels that dance show (and left Yermakov in the lurch) and stumbles and falls many times. Everyone deserves second chances, but she seems to get 10 chances while others do not get a second chance. She is being treated like the best that Mariinsky has to offer, and that is strange. She has definitely improved, but there are so many ready for Prime Time. The other thing is that Fateyev seems to think a main event of the past festival was Forsythe ballets. For me these Forsythe ballets are like giving opera singers some punk rock music to sing. Actually, Renee Fleming did release a cd of edgy/alternative pop songs a couple of years ago, so I guess I am a fuddy duddy. I need to chill out, I guess. But I really don't think many people on this planet want to go to the Mariinsky and see the Mariinsky Ballet do Forsythe. Fateyev is the culprit. The entire ballet company should do a walk out asking for him to be removed.

Drew, Some of the June schedule is finally up. June 2, 4, 5, and 6 Swan Lake.....June 11 Sleeping Beauty.....June 13 La Bayadere.... Not sure your exact dates, but it sounded like you would be there in early June, so I think you will be happy with this rep. Casting is TBA still, of course. I think the Mariinsky gives you your money back on your credit card if you buy from their site and cancel ahead of time. I think I would purchase all 4 Swan Lakes until I saw casting and drop any "Oh, crap!" evenings.

Madonna does seem like the one who got into the theme more than anyone and got it right. She put thought into it. The others were trying too hard to be "glamorous" and give a nod to "punk" if at all. But Madonna actually got it right. The only time I was in London was in the 80s when I was 16 years old with punks all over King's Road. The majority of the people at the Met's gala would not have fit in at all....

What is 2D? Is that just regular (non-3D)? I really don't know what it is.

Thanks for posting those two dancers also! It is fascinating to compare and contrast.

So sorry about your predicament! It is unbelievable that they don't at least list the repetoire. I guess most people who planned to go to the White Nights will forget it this year unless they live in St. Petersburg and can decide at the last minute. All others have no clue when to travel so they can't get a visa or airfare or hotel at this point without risking a lot. The only condolence is that you will already be there and hopefully some good things will finally appear on the playbill and they shouldn't be sold out since nobody knows what is playing. From what I can tell it seems like tons of tourists populate the audience, so I wonder if there will be lots of seats available, since most people will not bother to travel since they have no clue what will play.

I went back and found the topic "emploi" under aesthetic issues and read posts I only skimmed a while back. Quite a fascinating discussion there. I guess there was always some casting against type but that usually happens when the person is extraordinary and the audience is basically demanding it. You have this phenomenon (doing away with the Fach system) in opera also where Cecilia Bartoli will soon have a recording of Norma out. She has already sung it in concert and will sing it also in Salzburg (I believe staged this time). This is really a jaw dropping and mindboggling case of total miscasting, but the PR claims she is going back to what Bellini intended. Well, no one can really know what he intended. As far as tradition goes, this is a potential Party Record. And I actually like many things Bartoli has done in the past, especially her forays into obscure baroque arias. Anyway, the topic on emploi has pros and cons of emploi. Sometimes it actually works when someone is cast against type. But other times it does not. I don't think Kondaurova would be right for Kitri, but she would at least have the spitfire personality and might actually pull it off.

I guess my point was that Skorik is being treated as a versatile dancer who can do anything, and I have a feeling we are going to see more debuts. I don't think this is going to be the last Kitri. From what I have heard previous Artistic Directors knew the emploi of each dancer. I read under another topic on emploi that this is even part of Vaganova training....emploi is an important part of training dancers, and somehow that concept has been thrown out of the window for some dancers. When you watch videos of the old Kirov you see so much excellence sort of like what Martynyuk shows nowadays (in my opinion). This is not Skorik's fault in the end. It is administration. What is going on is so depressing.