Birdsall

I agree about Ulbricht. Living in NYC I have seen him in many things. It's not only his huge jump and other technical feats but his focus and presentation. He is a great dancer. Unfortunately the NYTimes critic, Alistair Macauley has been IMO stingy in his praise of Ulbricht. I've always suspected it to be a body type thing. Maybe Macauley's assessment will change in time. I guess he doesn't have that princely body type like Gomes, but who cares when he is so great?

I think the host did announce the Pas de Duke as being made for Jamison and Baryshnikov as you said.

I think she did a fine job as Myrtha. She was stern, and she also danced very well. Her upper body was nice too. Btw, the show will be in movie theaters on March 31 and April 2....but the host seemed to imply it will include historical and documentary footage interwoven into the whole thing, so the show that ends up in the movies will be slightly different.....not sure if it will contain all of the show I saw or what is going on. The program is as vague about it as the host was! LOL

They both have similar body types, so they matched each other visually. I think he is jaw dropping good, so he really brought the house down. The audience liked her too, but my feeling was that the audience (like me) were more impressed by him. I am not as familiar with the Flames of Paris (although I do have the Bolshoi dvd of it), so I am not the best judge of how well they actually danced the pas de deux, but it looked just fine to me!

Here is the rundown of what happened last night in Tampa: First Half: A few winners of the Youth America Grand Prix 2013 Tampa, FL Semi-Final Competition performed (I can't remember names or most of the pieces although there were variations from Coppelia and DQ (Kitri). The program did not list the names or items of this segment. I think there may have been about 6 pieces performed. They announced them, but it is impossible to remember their names. It is strange they did not include these performers in the program. After that, the "stars" performed: La Bayadere excerpts: Gamzatti: Isabella Boylston Solor: Matthew Golding Bronze Idol: Joseph Phillips Nutcracker Pas de Deux Sugar Plum Fairy: Hee Seo Prince: Alejandro Virelles Light as Air (choreography by Kirven J. Boyd/music Rene Aubry) performed by Alicia Graf Mack Flames of Paris PDD performed by Ashley Bouder and Daniel Ulbricht 2nd Half: Excerpts from Giselle Giselle: Greta Hodgkinson Albrecht: Matthew Golding Myrtha: Stella Abrera Piazzolla Tango performed by Daneil Ulbricht Swan Lake (White Swan PDD) Odette: Veronika Part Siegfried: Marcelo Gomes Pas de Duke (Alvin Ailey) performed by Alicia Graf Mack and Antonio Douthit Don Quixote PDD Kitri: Maria Kochetkova Basilio: Taras Domitro Bridesmaids: Skylar Brandt and Emily Kadow Standouts of the night were Daniel Ulbricht, Veronika Part, Marcelo Gomes, and Maria Kochetkova. I was surprised that Kochetkova showed up since she danced Giselle in St. Petersburg on Jan. 3, danced in Tampa last night, and will dance Masha on Jan. 8 in St. Petersburg! Another surprise for me personally was the Pas de Duke by Alvin Ailey (music by Duke Ellington). Normally I do not like "modern" dance as much, but this worked for me. I had only seen the Alvin Ailey dancers once before in Revelations and a couple of other pieces when they toured. I knew Alvin Ailey dancers are definitely ballet based dancers, but when I saw Pas de Duke on the program, I thought, "Well, that will not hold my interest," but it did. The Pas de Duke was choreographed as an actual PDD with coda, etc. Some of you might know it. I did not. The dancing was ballet with a very jazzy and fun sassy element to it. What I enjoyed was seeing these two dancers (Alicia Graf Mack and Antonio Douthit) have such fluid upper bodies. This is something I love about Mariinsky dancers, and it was fun to see a similar element (although still very different) in Alvin Ailey dancers. Somehow fluid upper bodies make dancing so much more beautiful for me personally. So I think I will try to catch the Alvin Ailey dancers as often as I can judging from this Pas de Duke. Lovely. When I saw Hee Seo as Gamzatti at ABT I was not impressed and she had ended her Italian fouettes or maybe some other turn with her back to the audience. But last night either she has vastly improved or my taste has changed, and I thought she was lovely. She also has more fluid arms than many ballerinas outside of the Mariinsky. Daniel Ulbricht is truly amazing, and I think he really should be a much bigger star than he is. Every time I have seen him I am totally amazed. He could probably give Ivan Vasiliev a run for his money! Luckily, he is from St. Petersburg, FL, so I have had several chances to see him in Florida, because he must still have family and friends down here. Gomes and Part were gorgeous together. Part was taller than he was on pointe but he had no problem with the lifts. They are both class acts. To me they are both very elegant, classical dancers. Kochetkova was lovely in the DQ pas de deux. She enjoyed herself and even though she is no spitfire Kitri like Osipova, she does it in her own way and it is very lovely. Her balances and turns were great! This is only my second experience seeing her live (saw her do a Romeo and Juliet balcony scene last year). She is a lovely dancer. Taras Domitro partnered her wonderfully and showed off excellent acrobatics in his variation. Sorry so short. I did not sleep much last night and just returned home. I just mentioned the highlights (what were the best parts for me). All the dancers were great, but the ones I mentioned stood out for me as a bit better than the ones I did not mention. By the way, met a fellow Ballet Alert member and we both went to the Meet and Greet afterward and saw Marcelo Gomes and Matthew Golding (maybe the other dancers were there also, but those two are the only ones we noticed b/c it was a big dinner party). For the women (and some men like me) Gomes is gorgeous in street clothes too! Movie star looks!!! Life is so unfair! Sigh. I saw this camera on a big moving lever type arm constantly going toward the stage and back, so it does look like they indeed videotaped it to show in movies later, and the moderator announced it also, so it looks like it is definitely happening. Even though I enjoyed the show very much, I am not sure it is one that needed to be videotaped for posterity, but I think the moderator said the movie theater version will be mixed with historical footage or something to compare historical dancers with today's and to talk about the Youth America Grand Prix, I suspect.

Very exciting!!!!

Abatt, thanks for the update! I am disappointed no Kondaurova, but I will still go. I lived in Tampa for 13 years and have a few friends expecting to see me. Ulbricht, Gomes, and others are still great to see!

Tiara, I totally agree with you from what I have seen. I was just watching one of my Raymonda videos last night, and Petipa's choreography (although maybe slightly changed by Sergeyev? Not sure) is so gorgeous you almost want to cry. With the Mariinsky my favorite moments are actually becoming the moments when the corps dances and the upper bodies of every single dancer is like ocean waves down to the fingertips. The famous Sleeping Beauty waltz is another breathtaking moment in Mariinsky videos. I think the "stars" are great to watch, but the corps is amazing also, almost a star unto itself!!! So lovely! Can't wait to get home and pop in a video tonight!!!!

This reminds me of when I was in Berlin shortly after the wall came down, and many people had tables set up selling pieces of the wall. They were chunks of rock or cement with paint on one side. The two friends who were with me bought a piece each. I thought it was a scam and could be any rocks from any wall, so I didn't bother. LOL Maybe the reason I don't want these things is that a member of my family has a hoarding problem, and I am scared to death of catching that issue, b/c my office in my house is so messy. I try to avoid buying anything I don't know what to do with...... But everyone has made me laugh and enjoy the variety, especially sticking the nose in and smelling the shoes! LOL LOL LOL I am still laughing, and glad they do not smell! LOL

You made me laugh with all this! Love it!

I'm glad I asked this, b/c it is fascinating. I doubt I will ever buy a pair but I can picture someone collecting and making a sculpture of them, I suppose. My main concern is that since they probably sweated in them, do these shoes smell bad and do they sometimes get mold or mildew? I guess that is the part that makes me feel uneasy about the whole thing. But if those issues are never a problem I guess it is just fine to collect them! LOL I actually did go backstage and get recordings signed by opera singers years ago when I first got into opera, but I always felt guilty I was wasting their time and after experiencing some diva behavior and then witnessing the same diva scream at fans right in front of me on another occasion, I decided I do not need to go backstage ever again. And I never did. All my signed recordings mean NOTHING to any of my friends anyway, so I asked myself, "Why did I put myself through a possible Battle backstage???" Some opera lovers here will understand my reference completely and know who I am referring to..... Basically, I want to see a great performance and I now leave the performers alone and don't want anything from them.

I have noticed at ballet companies the gift shop or gift area always has old pointe shoes signed by dancers. Does anyone actually buy these? I can't imagine buying a pair of old shoes! LOL It boggles my mind! I love watching famous dancers, but I do not want their old, used shoes no matter how good they are! I am just curious. And what would someone do with them if he/she bought them?

Wow! Thanks for posting these!

I saw Oksana Marchuk in two Nutcrackers recently. She played the sister of Masha to both Osmolkina and Evseeva. Both ballerinas were good, and Evseeva for me wonderful and so poignant, but whenever Marchuk was onstage she completely outshone every ballerina and I could not stop watching her. She has unique presence and personality, some of the best arms in the company, and I could not stop wishing she was dancing Masha. Columbine is a great role for her, but she should be dancing Masha, Aurora, Syuimbike - and many, many other roles that she would be superb in. The same can be said for Nadia Batoeva, who is a great dramatic ballerina, with superb technique - she is a gorgeous Columbine, but she too should be dancing principal roles - Aurora, Kitri, Nikiya ... Krasnokutskaya too I like - she has a sparky personality and always stands out on stage - and think she could be a fabulous Kitri. And Varentseva is still very young and I saw her Florine debut in Sleeping Beauty. Technically she is accomplished, but of course she needs time to mature and I hope Fateyev will not push her into too many new roles before she is ready. She needs time to develop as an artist although she is certainly promising and I enjoyed her Florine. Tiara, I agree with all that you say! Marchuk is truly like when the sun comes out on a cloudy day. I've never seen anyone have such a sunny personality that she/he literally seems to light up a stage! It is truly amazing and uncanny. I think Marchuk could probably cure people's depression! LOL

I think the Mariinsky (Vaganova) style is an acquired taste for some. I happen to love what I have seen. I had a discussion with one friend who thinks it is "too much" (too ethereal) when it comes to the famous Mariinsky arms. But I am amazed at someone like Tereshkina who moves her arms almost like they are strands of seaweed undulating in the water (and all this movement seems so natural to many Mariinsky ballerinas) during performances. It is almost as if these dancers aren't even thinking about it, because the arm movements have been taught to them since they were children. Now that I have grown to love this, I miss it when I see other companies. That doesn't mean other companies aren't terrific in their own way. I think some people find these Mariinsky arms "too much" and feel it doesn't fit in other repertoire. I have to say that I can't get enough of this style. A good example is the La Scala Raymonda. To me Novikova has the true Mariinsky arms when she dances while the rest of the dancers have much stiffer arms. Somehow it changes the whole experience. When all the principals and the corps are flowing in a particular style altogether it is magical. When the Mariinsky corps dances together with their ocean flowing arms I am in Heaven, to tell you the truth. And it seems to be the only company who stresses the arms to this extent. I mentioned once before that the Sergeyev Sleeping Beauty has the fairies all come out with these slowly undulating arms and it fits the music, and it is simply a gorgeous moment. Almost every other entrance of the fairies disappoints me, b/c I have fallen in love with that particular entrance (choreography). And the Canary Fairy is always a joy in that production. I actually think the big star of the Mariinsky, however, is the corps. Seeing the corps dance together and staying together even often swaying arms and wrists and fingertips.....it really is a jewel of a company, and I know that the anxiety that comes up when discussing the Mariinsky and casting decisions tends to be linked to the fact that this company is such a unique company that has a style all its own. Most people don't want that to change. I had a friend tell me that the Jewels dvd has several problematic casting choices, otherwise that release would be much better (and the camera angles are also terrible and messed up).

Thanks for your take on the situation. I hope you are right. You made me feel a bit better. Going in March and keeping fingers crossed. I also was turned off by the opening of that film and a friend said that the film was sort of staged to make things look worse than they were. But who knows? It is probably similar to how reality shows in America are always somewhat staged.

This statement made me laugh my head off! Great visual of nutella in a jar! LOL I know you were not trying to be funny, but this is funny. I have read so much now about the Mariinsky (Kirov) and it was apparently unthinkable in past times to worry about casting. Someone posted on here that she never ever worried when going to the Kirov even if the casting did not include her favorites. Seeing the Kirov always meant outstanding dancing b/c the dancers had years of Vaganova training, and they were always examples of top notch dancing. Now there is lots of worry and wondering whether to buy tickets. That is indeed sad at the change. There are some commercial videos (not enough) that capture the Kirov before things got crazy. I do think the corps is still excellent and many of the soloists are excellent, but there are some that are not really what we want or expect from the Mariinsky. Maybe Gergiev and Fateyev will read these online forums and eventually realize that they should rely more on the actual coaches concerning who is ready to dance this or that role, but I think Russia is trying desperately to become capitalist, and money is all that matters (just guessing). The arts always suffer when only money is the concern.

That is definitely not Leningrad Symphony! LOL I love the ballet Leningrad Symphony. It is a moving anti-war (my own interpretation) ballet. It shows the horrors of war. Too bad it is not more popular or well known. Thanks for always posting interesting tidbits! I learn so much!

Who danced the three shades (solos) in Kingdom of the Shades? I like to know which soloists are being given chances at the Mariinsky. It is fun to hear and see which ones are rising.

We watch it every year, and quote from it often. "Fra-'gi-le!" I have always thought it had to be the inspiration for that Wonder Years tv show. Do you know if it is? Both have a narrator who is supposed to be the main character, and they both deal with worst case scenario incidents.

I love that *Christmas Story* movie. Favorite holiday movie of all time!

I think fish is a very Italian (Catholic) Christmas meal. There is something I heard about 7 fishes. Sounds terrific! Fish is the only "meat" I really crave, but I am half Japanese. I could eat fish everyday and die 40 years from now without ever consuming another bite of beef, chicken, or pork if I didn't have to.....so I consider you VERY, VERY lucky to have fish for Christmas!

Yes, if anyone has articles (and translations) that we could read about what the Russian press actually thinks about the letter and Gergiev's reaction, please let us know.

I think also that there will be many growing pains in Russia as it becomes more and more Westernized. This whole ballet issue is part of it, and the administration needs to realize there is a difference between cruel or mean criticism toward administration (which the dancers have not done) and constructive criticism that simply wants the ballet to thrive (as the letter attempted to do). Gergiev AND Putin need to understand that. If the dancers always go along with everything that is happening then artistic standards will fall. Simply the fact that people have reported here that Vaganova graduates are now starting to join other companies instead of wanting to go into the Mariinsky is a real wake up call to everyone (Putin, Gergiev, and Fateyev)!!! I am sure these dancers who signed the letter love the Mariinsky and want it to succeed. They want to be a change within the system, and that is a good thing. I find it incredible that Gergiev views it as a threat.

I totally agree with what you say here. With power comes responsibility, and he should also handle the ballet (which I have read is the true bread and butter of the Mariinsky) like it is a treasure. As a previous opera lover, despite Gergiev's championing Russian opera and the Mariinsky as an opera company, the Mariinsky really is not a true major player in the opera world. Yes, it is in some ways, but overall, it is not in the same league as the Met or Vienna State Opera or Royal Opera Covent Garden, etc. Gergiev is a big name in opera as a conductor and he has brought rarely performed Russian opera to the West somewhat, but it is considered a niche thing, and really, the Mariinsky opera is not considered by the world the way the Mariinsky Ballet is. The Mariinsky Ballet is much more world renowned with a much higher reputation than the opera despite his desire to make the Mariinsky into a huge opera company. I think he must know that, and so he needs to treat the ballet as something special and listen to the dancers. That is my opinion!!!