Fraildove

Thanks, Natalia! MimsyB, I understand this is a graduation performance, but this is Vaganova Academy which usually graduates fully formed dancers. Smirnova, Shapran, and to a lesser degree Zhiganshina last year, not to mention Vishneva, are the caliber I expect from a top-graduate of Vaganova. Lukina looked better to me last year, in my opinion. Does anyone know if she is Kovelava's student? If she is, that is surprising. She doesn't have the softness I've come to be accustomed to in her students. She is talented, just underwhelming

She isn't my cup of tea, I agree too student like. Hopefully her performance will develop with more experience. Does anyone have a link for Laurencia? Would love to see it.

I think style also plays a part. I'm not surprised to hear the Royal dancers find it easier. In general, also with the Cubans as seen in their turning ability, their body is much more squared off, the Russian training more open and elongated. I have always had nerves of steel, no mental inhibitions about balancing, and I promise lifting the arms, in an elongated position like Attitude efface, drastically changes your center of balance. Throw in the Russian's me preference for extreme hyperextension and you exacerbate the issue even more. You can have all the mental focus in the world, put pointe shoes on, and some days you are just going to be 'off'. I have no idea why, but even turning can be problematic on these days. It takes so much muscle control to even hold an extended position while standing en pointe, much less changing the positioning. I've never really cared either way about the arms being lifted. If a dancer is secure and on her leg, sure. But to force it when something is a little off will cause major anxiety for a ballerina. Which makes it even more difficult. I was coached in the role by both Sizova and Kolpakova, and neither one ever said it was absolutely necessary. I generally always did, and although I have some hyperextension in the knees, I don't have the incredibly high instep that can add so much instability in the leg. It bothers me somewhat that people would think it is mainly mental... Very few things in ballet are. When you have complete command of your technique, even with incredibly strong legs and feet and a very well centered body, there is so much physical mechanics going on that, yes if you loose focus it probably won't happen, but even being hyper focused just helps a little. When you add muscle fatigue, variations in pointe shoe strength, partnering differences, heck a different costume can have huge ramifications for a ballerina. The most experienced can usually deal with it or hide it fairly easily, but I really feel for the dancers who, like Sarah Lane, who have only performed this ballet 3 times since 2008. You can't even enjoy what you are doing in my opinion, thinking about everything that is needed for this role. It totally exposes any flaw in your technique, it's not so dramatic that you have a character to act out mistakes with, and you have 3 very, very different demands one each act. Of all the ballets I danced, this was the hardest for me. One other thing about balance. Yes, in a studio setting, of course balancing becomes easier. When you are on stage, you really can't see very much toward the audience, so even the visual field changes. I've seen dancers who could balance in attitude for minutes (we timed them, I kid you not) seriously struggle on stage in just normal pas de deux, much less having 4 partners! I haven't had the pleasure of seeing Ratmansky's new version. I'm having a hard time understanding what exactly is happening with the port de bras back that you all describing. I'm sure it is some type of counterbalance with the prince, just not sure what. Does anyone have a photo or video that I can see that is similar?

Speaking from someone who has danced this ballet many times (it was a bit of signature for me and my husband) lifting the arms above the head is actually extremely difficult. It's not the final position that's hard, but the transition from first to third (Russian training, it would be 5th most everywhere else) When the arms are traveling, suddenly there is a lot more weight in front of the body, so you have to compensate, then return to the original position to balance in. Being on pointe is so different to standing flat. You can even see this when student are at a balance at the barre then told to lift their arms up. Even in soft shoes, dancers struggle. When you and hyperextended knees and big insteps, it complicates it even more. Yes mentally you have to be focused, but in that very simple movement lies a minefield. Another thing to take o to consideration, is that she is dancing with 4 different partners, all of which partner differently. When you see a dancer dancing with a new partner, adjustments are made to suit both dancers. Not so for Rose Adagio. The ballerina has to make adjustments for every partner she has. That alone can be beyond nerve wracking. I could balance all day in a secure position. But changing arms or head changes the weight, which changes where your center is. I hope that makes sense.

Ivypink, you aren't alone! So I guess there are 3 people on the planet that dislike Rubies! My husband and I both detest it. I don't like watching it, and I didn't like dancing it. Never had to perform it, thank goodness, but the style and movement is so not in my comfort zone. Love diamonds though. I wish I had been able to see this. I've never had the chance to see much of PNB, but I will have 1 former student their next year

Regardless of the box office, and what is much more disturbing to me in regards to McKenzie, is the lack of coaching he is giving to the company, by not hiring and fostering the relationships the coaches build with the dancers they work with. I think in many, not all, but many it is impossible to compare the soloists and some principals with their Russian/ European counterpart, simply due to the lack of growth and coaching in the Petipa rep. It is a much more level playing field in modern or contemporary works and especially Balanchine, but when you look at Swan Lake, or Bayadere, or Giselle, the lack of being able to develop a role and really develop an interpretation of that role is being denied to most of the ABT dancers. If an audience member is given the choice of seeing a technically brilliant dancer like Tereshkina, or the fireworks of Osipova, or the stupendous artistry of Cojocaru, or the choice of seeing a Hee Seo who is beautiful but technically insecure, or Boylston who is still trying to establish herself as a leading ballerina to name two dancers who seem to being cast a lot right now at ABT, can you blame an audience member for wanting to take a sure thing over a maybe? Until ABT starts to nurture the dancers they are employing, and truly give them opportunities to hone their craft and grow, ABT will not change.

It was indeed, which becomes somewhat comical in the case of my husband and myself... He being trained in Kiev, me being trained in the US with teachers directly from Vaganova Academy, and we argue over little details all the time, especially small inclines of the head and use of the upper back. Also Zalinsky or Zaklinsky (I always get them mixed up), who was also principal in Mariinsky, was trained in Kiev as well. So was Matvienko. All from Parsegiv. I think the training between the two schools is more similar for the men than the females... When I have worked with some of the female students, especially current, from Kiev, the difference is noticeable. I think it really falls in the middle of the Bolshoi and Mariinsky styles. To bring this back on topic, two summers ago I saw Kiev perform Makarova's staging of La Bayadere (in Kiev, before everything became too unstable to want to take my young son there right now). I can't remember who danced the leads, but I liked the dancer playing Nikiya much better than Gamzetti. I think the company was struggling a bit with this version, and the audience around me seemed to much prefer the more traditional. The costumes were some of the most luxurious I've ever seen, as most of them are in Kiev. Maybe ABT should hire their wardrobe!

Parsegov.

And don't forget Irina and Max!

Zakharova also trained her first 7 years in Kiev and only went to Vaganova her last year of training.

Sarafanov was trained in Kiev, not Vaganova Academy. He was trained by the same teacher who trained my husband, and also trained many other noteworthy male dancers. I always find it interesting that no one remembers that he danced for the National Ballet of Ukraine for 2 years prior to being invited to join the Mariinsky.

That is a very interesting theory about Kirkland/Balanchine relationship. I'd never thought of it like that. I also recently read an interview Baryshnikov did (I believe it was when he was doing a play in Italy... Maybe) that he himself admitted he was a very week partner for both Gelsey and Makarova and he played it off as their fault. It was really interesting hearing some of what she had accused him of being admitted to in the press, even so many years later. I agree so much is all based on perspective, but perhaps some of her accounts are more accurate than one might care to believe. If anyone has a link or knows of the interview by Baryshnikov, please post it. It would be interesting to reread it with the entirety of this thread being refreshed in my mind.

Oh Volcanohunter, I think they should all out make it illegal to wear strong cologne or perfume in the theatre. Funny little story, especially if any of you have kids. Well, A few weeks age my husband and I took our son (he turned 8 yesterday I can't believe it! I'm getting old!) to see the YAGP Gala in NYC since we had been there coaching a few of our students who passed to finals. My son has literally grown up in the studio and the theatre, and I have tried desperately to teach him proper manners in dealing with how to behave, to shout bravo, and how not to scream as if at a rock concert. I thinks, in his own words, 'well if they are still shouting from the rafters either they never had good parents to teach them acceptable behavior, or they must think someone is keeping score!.' He is a bit precocious, although incredibly sweet and has often helped an older woman beside us read the print of the dancers names as it was to small for her to read. I digress. So anyway, we were seated with perfect seats, front row center 3rd tier and happy as clams until the people who sat down next to us settled and we noticed a very strong fragrent odor wafting in from their direction. My 8 year old caught my eye, but didn't say anything. So as the night progressed, this gentlemen got up from his seat several times, and each time he came back, the scent was stronger. Finally my little on slid over onto my lap and said, "Mommy, if I don't get some fresh air quick, I'm afraid we may be poisoned! I took him to the lobby for some water and a snack and he made me promise him the if he were to ever smell remotely that strong, I have his permission to put him into a mental health facility or a hospital to make sure his sense of smell wasn't damaged! We returned to the theatre and I showed him how he could discreetly use his program as a fan to keep some of the smell behind home. After the performance was over, after telling me which ballet he liked, what he didn't, and who is favorite was, he had this last little quip... 'I think when I go to the theatre I am excited that there are people around me Who appreciate the same things I do, even in different was. But I don't understand when someone would choose to use that much perfume and not think anyone would care. But most of all, mama, it seams by his actions more clear to me that I doubt he even cares if anyone else is bothered and that is just plain selfish. And you can't love art and music and dance and be selfish. It totally Contradictory! I wrote this little dialogue as soon as I got home because children are so honest and pure. And pretty wise for only 7 years old! Edited because I misquited him. He read it and said no, I said it this way.

RIP Madam Sizova! She was an amazing teacher and a wonderful person. What a legacy she has left behind with the many students and audience members who were lucky enough to have known her. My heart is sorrowful and the world has lost a truly great artist.

I've always had it refered as an assemble sissone ferme.

Joy Womack's latest interview: http://sessions.cloudandvictory.com/interview-joy-womack/ Very interesting interview, still contradictory in her statements, but much more poised than her media blitz last fall. Interesting that she says her original interview to the press was released by someone else and not her. Hard to see how an interview can be done by someone else unless they were impersonating you... Very strange. But wish all the best to Joy. Seems like she is much happier now.

Mussel's wish list is a dream, and if the past is any indication, it will be pretty accurate At least one can hope!

He said he had unknowingly come to Jackson with walking pneumonia and was only sidelined for a very brief time. I do know that several, if not all, of his scheduled classes for the competitors were covered by other jurors, Nina Aninashvili covering one which was delightful to watch. Although everyone was aware of Villella's presence at the competition and the dancers and other jurors showed tremendous respect towards him. He was having a very visibly difficult time walking, especially up and down the stage stairs. But he was so inspirational to everyone there!

Yes, and he was eloquent and gracious as always when he spoke. At the ball after, he was very welcoming to everyone there!

Joseph Phillips performed Monday afternoon as a non competing partner in USA IBC. His new partner, on stage and off, is Irina Sapozhnikoa. We worked with them for a week before the competition started as they performed in our Swan lake, and what a joy they both were! Joseph has grown technically, but even more artistically during his year in Vladivostok. His partner, Irina, is a spitfire, with amazing legs and feet, turns, and can balance for days! Their opening pas for IBC was Don Quixote and they brought down the house with it. I questioned his decision to leave ABT, but it looks like he truly made the right decision. His technique was always stellar, but now it seems he has the coaching that he really wanted. Irina should be a major discovery and I hope the both end up landing somewhere that will truly appreciate these talented artists! Oh, on a totally different note, they were 2 of the kindest dancers we've ever met. So gracious and humble, interacted with our students, and just a joy to have around.

Hi everyone! If anyone has tickets that they will not be using I would be interested in purchasing! We need 6, but will take what we can get, even if they aren't together. Any seats would be fine!

Finally!!!

Long long overdue!!! Congratulations Julia! Wish I could be there to see it in person, but I second that someone will post on YouTube.

This is actually the most self-assured, technically proficient Oksana Skorick I've seen. Maybe she will build on this and will grow into the roles that have been thrust on her. Her lines are to die for!

I had posted this on the sister site, but never got A direct response and thought I would re-post here: The question that keeps coming to my mind is this: She danced a solo role in Nutcracker (Spanish) and it was not reviewed particularly well by friends I have in Moscow who I trust and are professionals. I assume she didn't pay $10,000 to dance this role??? So was the supposed bribe asked for after the unsatisfactory performance or in conjunction with it? While I have a lot of respect for Joy Womack, somehow this just doesn't make much sense to me. Same with her marriage. Maybe it was a sham, but photos she herself posted on Facebook looked very different. Maybe there is something being lost in translation. I know from my own dealings in ballet that things are not always on the up and up, but blaming an originization for choices you made seem childish. If she did marry for citizenship, she had a choice, she wasn't forced. I think, unfortunately for her, she was young and immature and not completely prepaired to deal with the consequences of her own decisions. Just my opinion.