Fraildove

Natalia, my thoughts exactly!!!

Just because a dancer takes class with a company does not automatically mean they are members of said company. When I was dancing professionally, I often took class with a company if I was in town. This included the Mariinsky when they toured nearby. I don't personally know if Sasha was ever employed by MT, but given her sister's status and her Vaganova Grad status it is within reason that she took class with the compang to maintain technique while trying to secure a position elsewhere. I highly doubt that she would have been left off the roster with the last name Somova if she had indeed been an employ. Just my perspective.

Any results from round 1?

When I was still dancing, I was much more aware and concerned with the bodice slipping down than the tutu coming up! After all there are trunks in the tutu but the bodice issues can leave you quite exposed! More practically, sometimes the tutu seems to have a life of it's own, and I do t ever remember being worried about it during lifts. As said above I was more concerned with arms and leg positions and making sure that I was in a secured position than with the tutu. The only time I was aware of my tutu was when being laid down to slee in Sleeping beauty. If you lay on the back of the skirt, you will have a tutu in your face not to mention a very interesting sight for prince charming!

Congratulations, Evgenia!!!! It's a long time coming!!!! And the ballet world lifts their glasses to a beautiful young dancer with grace, beauty, and perseverance! Brava!!!!!!

I've also been curious about her going to the Royal. And yes, any company would be lucky to have her!

Never a dull moment in the ballet world! I hope that the Mariinsky will realize what the have lost. Obraztsova will be an asset to any company she chooses, and hopefully they will utilize her gifts much better than her home company did. And the Mariinsky continues to loose my respect, which considering my own training and professional background is very sad indeed. At one time, the Kirov was the be all, end all company for me. Now my allegiance has shifted. But all the best for these dancers' futures. Is it just me, or does it seem lime the Kirov has lost their identity?

Is wrong for me to how that Ms. Obraztsova will make a change from her 'home' theatre to the Bolshoi? Especially now that Osipova is no longer there? Seeing at how much goof Filin is doing amongst the ranks at the Bolshoi, and given his fondness of Obtaztsova, perhaps this will St Petersburg's loss and Moscow's game. One can hope anyway. And Natalia, I totally agree! Although Cojocaru is right up there with Obtaztsova. Congrats to her!!!!!!!!

Any news or reason given for the absence of Irina and Maxim? My husband has not been in touch with them in the past few months (he and Irina graduated the same time) so this is news to us. Has ABT issued any notices?

Helene, judging by your post, you had the same reaction I did! The ballet world will miss his direct leadership, but I hope that he will continue to be involved in an advisory capacity to many other companies around the world. Bravo for an amazing career!

About Vetrov... What is the status of Metropolitan Classical Ballet in Arlington? I know that they were having financial difficulties, but is it safe to assume since he is now coaching Hallberg officially and co-artistic director at the Bolshoi his affiliation with MCBbis no more? I have not seen any notices but their website hasn't been updated since 2009

Well, if Filin is taking requests can I give a huge nod to Evgenia Obraztsova? If the Bolshoi stole this beautiful but sadly non promoted dancer from the Mariinsky, then the Bolshoi would essentially be, without question, the greatest company in Russia. And in my opinion, Europe and America. I know it's off topic, but I had to throw that in!

I know it is off topic, but it is interesting to note that the Bolshoi has announced open auditions for the company. This was a huge shock when I heard. Of course it isn't a given that they will accept anyone into the ranks outside of the Eastern European schools, or if they did what it would mean down the line for their 'style'. A dancer must be preselected to audition, but does anyone else remember a time that they have held outside auditions?

Too bad that Zdenek Konvalina and Bridgett Zehr decided to head to ENB. Both would be wonderful additions to ABT. Another young and healthy and beautiful dancer is Conner Walsh with Houston. Although he probably would not come in as a principal, he would be one more to develop and have a long career. He is a few years younger than me and has many years (hopefully) of performing ahead of him!

And the battle lines are drawn... I have watched this thread with extreme interest, as I have watched threads regarding the Mariinsky and Somova. I have not commented thus far, but with the previous slight to Obaztsova I can no longer hold silent. Sergei Filin in inviting Obtaztsova to debut Odette/ Odile was one of the most endearing thing he has done thus far at the Stanislavsky. The misuse of her at the Mariinsky is one of the saddest things I have seen happen there. Having watched Alina's Swan Lake (she is a personal friend, thus I address her as such) on numerous occasions, unfortunately, I have continuously been at a loss. Sure, she has a tall, elongated body, but what else? She is a wonderful girl, and I like her very much in the more neoclassical roles, but I have never understood the idea of promoting her so quickly. I feel it has been a most unagreeable decision to the majority of audiences and critics, and a huge disservice to her. Had she been left to mature slowly, given the right coach, then maybe. But not yet. Obtaztsova on the otherhand is one of the true jewels at the Mariinsky at the moment. Small, beautiful, and with an artistry that is astonishing, to me she is in the long line of delicate ballerinas such as Makarova, Sizova, Kolpakova etc. To call any one of them unsuited for Odette is ridiculous. Just because a ballerina does not fit into the current 'trend' does not make one unsuited for a role. Look at the rehearsal video. I have several friends, ex-professional dancers like myself, who have been waiting for her to have a chance at this role in particular. Filin was very smart to bring her to the Stanislavsky and to give her opportunities her parent company, for some reason, continue to deny her. She has a huge following of not only fans, but of ballet critics who adore her. The clean, pure technique she exhibits is a breath of fresh air. And to the subject at hand, I am so happy for Sergei Filin. He is a most deserving candidate for the job. And it could not have happened to a nicer man!

One of the best reviews I've ever read! Felt like I was there. Fortunatly, or so it sounds, I wasn't. Had the unfortunate experience to see their Giselle a few years ago. Change the story line and you have just about got a verbatim performance! Glad you managed to survive it

Wow. Seeing her dance like this makes her career even more tragic in my eyes. Being to young to have seen Ms Kirkland live, video snippets are all I have seen. I usually will not judge a dancer on he basis of a video since generally artistry is lost. If that holds true with Kirkland, I can not even imagine what she was like live. I hope more videos of her will eventually find their way to the public so that many more generations will be able to see a glimpse of the artistry so rarely seen today

Nyee pukhah, nyee perah - No down, no feathers to my understanding, it is an old Russian hunting saying. My husband explained that literally it is like saying break a leg, because one would translate it as saying I hope you fail. Instead of saying thanks, you respond by saying "K chortu," which means "Go to hell."

That is exactly it!!!! Thank you so much... I will say this again, I absolutly love this board and the wealth of information it's members poses!!!

Having Mme. Sizova teach me the 3rd act wedding variation was and remains to this day the highlight of my ballet career. Even in the studio, dressed in a button down blouse, pants and teaching sandles, she was still princess aurora reincarnated!!! It was humbling and inspiring all at the same time. This is a very interesting conversation. Funny that Cojocaru and Ulamova started this whole thread. I would have to say my opinion of the two are opposite. I have never liked Ulanova in Giselle, and were I to be completly honest, I have never seen a ballerina who became her completly (I think Gelsey Kirkland was probably incredible in this role, but sadly that was before my time and I have never seen a video of her complete Giselle. I would love to hear from anyone who saw her dance this role. If her 1st act variation is any hint I can only imagine how moving the rest must be!) that is until I saw Cojocaru. Granted I have never seen her live, but she is exactly what my mind envisioned from her physical appearance to her dancing. I have never cried in a mad scene until I watched her. My heart was breaking for her. For me, I can't imagine any other dancer give a more perfect rendition. I guess that as everyone has their own personality what works for one can be completly opposite for another. I can't imagine giving up hope that the role could be danced better, but every time I see Giselle I will be mentaly comparing. Hope this makes some sense!!!

That's It! Cream pastries. Any idea if it was originally included in the score, or if it was performed in any Nutcracker around that period?

That I have seen, and really dont like it. I am pretty familier with most other ballets, particularly with Tchaikovsky. And I have never heard this piece before. I also wondered if he maybe took it from somewhere else, because it didnt seem in keeping with the rest of the ballet (orchestration etc) which he played up to a bad recording since it is very hard to find. He was a classmate of my husband's in Kiev, and he said he obtained the recording from the opera theatre there. When we were there this summer and inquired about it, no one knew either... so the mystery continues.

Do we have to talk about it being Nutty season!!! We started our rehearsals last weekend, so for better or worse here we go! That is really interesting about Marzipan. I have never seen the original notation, and the version I am most familiar with is the pas de trois that is done with students... A la Mariinsky. I know it is not mother Ginger Ashe uses that as well. Actually he uses the familiar score with all variations that are standard. Hmmm...

2nd act, supposidly one of the national candies... That's all I know actually. I was almost positive he said French, but that would be Marzipan... So not too sure.

Hi All, One of our friends is a director of a ballet school in the US. We were comparing notes on Nutcracker, since between my husband, myself, and him we have staged hundreds of performances (i wish i was exagerating). So he showed us a clip of his latest production and included a variation that i have never seen, with music that I have never heard before. He said it was included in Tchaikovsky's original score, but as of yet I have not found it. Can anyone point me in the right direction??? Or is this not even true? Help!