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About Shirabyoshi

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  1. I'm a little late seeing this, but for the record I can tell you it was Yulia Grebenshikova, NOT Ana Turazashvili. For the Thursday matinee and the Friday evening performance Smirnova was replaced as Queen of the Dryads by Grebenshikova. On Thursday the switch was announced before the curtain went up, on Friday it wasn't, but it was the same both times. Of course, someone also had to take Grebenshikova's place in the middle of the Three Dryads, and both times that was Turazashvili. It was a delight for me to see a little more of her, so I noticed particularly.
  2. Catching up on this thread I can't help but giggle and be glad that I decided NOT to fly to New York this time round. Instead, I'll be in Saratoga next week -- Alexandrova, Krysanova, and Kretova as Kitri -- with any luck, Tikhomirova and Turazashvili (the latter captivated me nine months ago, and her name has been ever on my lips since then) in the lesser roles -- a more joyous and diverting Bolshoi experience than one could have hoped to enjoy with Grigorovich's excreable Swan Lake... I've seen recordings of that AND their Spartacus, and what is bearable with a fast forward button I wou
  3. Please forgive the extremely belated way in which I'm sidling into this thread... Krasnokutskaya danced the Violette Verdy role on the 8th of February this year, but I have a funny feeling that wasn't her debut either. To me the surprise is Ivannikova. She danced Gulnara with Somova's Medora in tonight's Corsaire excerpt; and she was apparently going to debut in Diamonds on 7/7 -- but then, NOT a surprise, she was replaced by Skorik. Has there ever been a Mariinsky Jewels cast that actually made sense? Well, she didn't do the eight double pirouettes in the Tsarevna's final variation. F
  4. The title says it all really. Please PM me if you're interested; all offers will be gratefully entertained.
  5. Alea jacta est. I am going to the ballet for the first time in, yes, let's check this, let's be as precise as we can, THE FIRST TIME IN MY LIFE. New York being somewhat cheaper and more convenient than Russia, I'll be there during a certain strategically selected period in the month of May. I rang up the Met box office today to check where I'd be sitting for ABT and I should very much appreciate the opinions of the learned members of this board on whether or not I should be happy. I mean, I'm pretty happy anyway, but could I be happier? If I could be I should certainly like to be; this is a
  6. Thank you. One of the many modern concepts which should be explained to them is: redundant data storage. The best way to protect information, if you're truly concerned about its survival rather than its secrecy, is not to keep it in one place with a great big lock on it, but to put as many copies as possible in as many places as possible. If Balanchine's choreography was in the mind and heart of every ballet fan in the world -- not to mention constantly creating new ballet fans, as it surely would -- keeping his legacy alive would not be a problem. You couldn't even kill it if you wanted
  7. Thank you for this kind response; I was worried I'd come across as the Devil's Advocate. ;) I do find criticism and technical discussions interesting, but usually I come to Ballet Alert to read that kind of thing *after* I've seen and enjoyed something. I don't like my first impressions to be clouded by, ah, carping. I'd rather have my simple fun first! And to make this post on-topic... My nomination for Most Quotable Ballerina (sorry, Cristian) is Maria Alexandrova of the Bolshoi. Herewith some favourites from my Masha File, collected from various interviews found online. "I've never wante
  8. Ouch! Yes, that was a harsh way to put it; I'm sorry. Perhaps "a revolution in the Balanchine Trust" would have been better. Ascribe it please to my crankiness over being a new ballet fan who is having a hard time learning about Balanchine. This is the 21st century; there are so many ways in which Mr B could be out there in the world, fostering the love of ballet among people who will never see the inside of the Lincoln Center, ensuring his works and his reputation will last a thousand years, but they won't LET him... Recordings are an inadequate substitute for live performances, I agree,
  9. Shirabyoshi


    I came back to answer the replies to my last post... only to find the discussion has moved far ahead in my absence, and its new direction is much more interesting! I do have something to add here, I hope not entirely without interest or worth. When I first began to cultivate an interest in ballet earlier this year, I went through a(n admittedly brief) period of thinking that I couldn't quite understand what the fuss was about Balanchine. The first recordings I saw, from the meagre selection available commercially, contained some pieces I admired in the abstract, but nothing at all to touch my
  10. If I were to mention all the marvelous things I saw for the very first time in this, my first year of ballet addiction, the result would probably be a list of my Top 100 Margot Moments, followed by my nomination of Violette Verdy for Best Person Ever. Instead, off the top of the head of a person who has been relying only upon recordings rather than live performances, three favourite things which actually happened in 2012: * Yulia Stepanova's promotion to coryphée and her debut as the Lilac Fairy. * Ekaterina Kondaurova in Nikiya's death scene (which may not have been from this year, but I'm
  11. Have just discovered this thread and read through it with great pleasure. I have nothing to add but this warning against the hypercritical tendency (please nobody shoot me): "I should say that a knowledge of technique is essential to the full understanding of the ballet but not necessary for its appreciation; for the latter I think that emotional or intellectual reaction to the music, movement and decor is quite enough. For my own part, the less I knew of ballet the greater was my enjoyment; too carping an attitude is a great hindrance to enjoyment and a little knowledge can mar a lot of plea
  12. Shirabyoshi


    Apologies if this is too emotional; but the thread has wandered about a bit already, so I thought it might not be a wholly inappropriate place in which to express certain miseries -- and fears. As a new ballet fan I had actual physical palpitations when I read, just a short time after my Great Ballet Revelation of 2012, that the Mariinsky would be doing "Swan Lake" in California. Then I researched the soloists whose names were on the list for the tour. If I'd been guaranteed a week of *real Mariinsky performances*, I'd have flown out there and gone to every single one, whatever the cost. As
  13. Ordered! Thank you for the recommendation.
  14. Do you know, that's exactly the programme of study I've been following? Rather fun it is too. Thank you for the welcome!
  15. Oh, gosh, I really am terrible at keeping up a conversation, aren't I? I'm sorry. In my defense, I've had rather a lot of things that needed to be watched, some of them multiple times, some of them multiple times in the same day... Let's hear it for escaping into a world of beauty and romance! Sometimes it's all you can do, isn't it? And let's hear it for that too. It's surprising how quickly one can start to pick up things. I'm able already to return to recordings I first saw two weeks ago and get more pleasure out of them. Even just knowing which steps are more difficult and hence mor
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