Natalia

I don't like the national trend of minimizing or watering down classical ballet by interjecting modern and Broadway into so-called Ballet-Dance seasons. That's precisely my beef with the Kennedy Center. As it is, one of the offerings of any season, anywhere in America, is NUTCRACKER. So how many offerings does that leave for the true balletomane? To give the few remaining slots to Ailey or the Trocks or "Red Shoes" road tour is to take away from the presentation of ballet. I guess that presenters have crunched the numbers and are purposely reducing the number of old-fashioned pure ballet presentations in a given season, to stay in the black & not lose money. Hold on to your precious DVDs if you want to see ballet.

Meh. Even the Bolshoi's offerings are relatively El Cheapos. I've seen both Taming and Hero and, while the choreographies are superb, the sets are relatively simple & overly reliant on projections. (The spa in part 3 of Hero looks great, though.) Easier to tour than the classics, I suppose.

Petrushka, Firebird and Scheherazade's decors call for a proscenium type stage. In the Concert Hall, they can do ballets that could be pulled off with a plain dark background and simple props, like a chair...e.g., Spectre, Dying Swan, Chopiniana & Polovtsian.

Right. Lopatkina's Nikiya was the highlight of the last run of Bayadere at the KennCen (Jan 2008)...almost 10 years ago.

Right, Jack. I'd just love seeing them back to back. To me, Scotch Symph is the "alternate ending" of La Sylphide, if James' weird dreams came true. If Madge did not exist. James gets his Sylph, she becomes a mortal & becomes a villager, they are married & live happily ever after. p.s. I'll go one further and suggest a triple bill that would include the very short A la Francaix by Balanchine, which also evokes La Sylphide, in a very different (comedic) manner. But that would make for an exceedingly long night. Don't even think of a quadruple bill with part 1 of Union Jack!

I cannot wait for this. Three cheers to Tsarist Imperial splendor...wardrobe malfunctions and all! I can see how the church would freak out. They condemn any depiction of the "Holy Martyr Saints" (Tsar Nicholas II and his immediate family) in drama, film, etc...but...even saints were once human.

Jack, I mentioned lovely Gaby as a standout in Wheeldon's Scenes de Ballet (lead pdd girl with Gilbert Bolden III) at the matinee. She definitely caught my eye. Two years younger than Gaby, Mira has an amazing Audrey Hepburn face, swan's neck, long lines but...to be kind...at this point in her development, extremely gangly (in need of some haggis?) and not quite in control of her limbs, fingers splayed, feet not quite pointed. But I bet that this will change. There is "ballet goddess" potential here.

Thanks. Now I understand . Agreed; not absolute top-flight Balanchine...yet, for me, in the Top 20. Love how the leading lady (Sylph) goes from elusive in the adagio to "jolly village lassie" in the finale. I'm only sorry that Mr B didn't carve out a presence for the zingy "Little Red Scotch Girl" in the finale!

And the winners, announced by Yuri Grigorovich on May 30, are: http://benois.theatre.ru/english/massmedia/news/ Best Choreographer - Crystal Pite (for work at POB - Seasons Canon) Best Ballerina (tie) - Ludmilla Pagliero (POB) and Maria Riccetto (Uruguay Sodre Ballet) Best Danseur (tie) - Hugo Marchand (POB) and Denis Rodkin (Bolshoi) Lifetime Achievement - MarciaHaydee

California, I'm curious. In what way is Scotch Symphony dated? I find it timeless...almost a variation on the Sylphide story. I'd love to this as the closer on an NYCB "all Scottish" double bill that opens with the Martins Sylphide.

I thoroughly enjoyed this afternoon's workshop, displaying precocious talent from students of all ages, essaying three complete ballets, all to live music. Scenes de Ballet (Wheeldon/Stravinsky) This lovely work evoked a ballet academy in the Tsarist Russia of our dreams. (Which ballet school is next to St Basil's Cathedral, Moscow, of which onion domes are seen through a big picture window to the right? A fantasy!) A long ballet barre dissects the stage giving the impression that half of the dancers are mirror images of the other half. Standouts among the large cast included two bravura guys (Jonathan Alexander & Nathan Compiano) and a regal adult pdd couple (gorgeous Gabriella Domini and Gilbert Bolden III). A joy...set to a rather difficult Stravinsky score (used earlier by Ashton). Seemingly cast of 100s filled the stage with beauty. Loved the abundance of fluffy pink tutus! The Martins/Adams Hallujah Junction followed, with its elevated twin pianos in the background. Electrifying technical wizard Jonathan Alexander stole the show, but the leading couple in white, Nieve Corrigan and Darius Black, also created beautiful forms in space. Kudos, too, to the four energetic corps pairs in black...with Cleo Taneja a spitfire standout among the girls...and Uma Deming seems to be the twin of Tess Reichlen! The delectable Scotch Symphony (Balanchine/Mendelssohn) closed the afternoon "with golden clasp"...con broche de oro, as we say in Puerto Rico! Young Audrey Hepburn look-alike Mira Nadon, just 16, valiantly essayed the Maria Tallchief role of a Sylph in pink. She's still wet behind the ears (a bit gangly and Somova-esque) but I see potential in a year or two. Davide Riccardo partnered her well but seemed a bit frightened...and not just by the big guys protecting his Sylph! Greatest kudos go to the zingy sprite, Kristina Hadjipetkov, as the petite Scottish girl in red plaid...the most polished dancer of the soloists in this work. The corps was musical, in synch, full of grace...but - my one caveat - port de bras, in general, is not their forte!!! But that didn't dampen the overall fine quality of the afternoon. "Bravi!" to the future stars of American ballet! "Bravi!" to the coaches, too. I return home to Washington DC on Megabus, a very happy visitor. SAB was definitely worth the journey, Can't wait to see who among them join NYCB or other top companies.

Well said, Cubanmiamiboy! At least Vikharev is seen on some Russian stages, including the Bolshoi, Ekaterinburg & Novosibirsk...just not at the Mariinsky. That won't happen until the colleagues, students & followers of K. Sergeyev & Dudinskaya pass on...and a lot of them remain and wield influence (and include great artists that we've loved for a long time). Re-read Tim Scholl's Sleeping Beauty: A Legend in Progress...as I did on the bus to NY this morn.

Bless you, Amy. (So you are "DarkDancer06"!) Below is an excerpt from another grand Vikharev recon not included in the compilation - BAYADERE:

A loving tribute to the art of Sergei Vikharev & his collaborators, courtesy of "DarkDancer06"! It includes Tsarist-Era "grand ballet" excerpts from SLEEPING BEAUTY, RAYMONDA, COPPELIA and FLORA's AWAKENING: Rest in Peace, Sergei Vikharev. Absolutely the most satisfying and complete restorer of Marius Petipa's grand ballets. The most luxurious. The most faithful to Imperial Russia of the Tsars! No "El Cheapo" productions associated with Sergei Vikharev...ever! GOD SAVE THE MEMORY OF TSAR OF BALLET RECONSTRUCTION!

Most likely Bella (Boylston) would replace Kochetkova in SL, if it comes to that. Bella has danced O/O with Simkin.

Sadly, as reported in the Obituaries subforum, Sergei Vikharev passed away today. May he rest in peace. Not sure how this will impact the various planned Petipa tributes in Moscow & Ekaterinburg with which he was associated.

I just heard, too. So sad. Only 55...and was working on new recons for Ekaterinburg + the revival of the Petipa Coppelia at the Bolshoi. Heard the news from Vaganova Today blog's FB. Maybe they'll update w/ details: https://m.facebook.com/story.php?story_fbid=1868958386690110&id=1400884116830875 My condolences to Sergei Vikharev's family, friends and close-working associate in the reconstructions, Mr. Pavel Gerzhenson.

Just to clarify my points on Lane: it's not as if she "can't do" the steps for Aurora, Raymonda, Odette/Odile. Of course she can. I'm referring to scale, temperament, emploi. Same thing with one of my huge all-time faves from Russia, Evgenia Obraztsova. I adore her Juliet and Giselle but wouldn't spend 10 rubles on her Nikiya, sorry, or even Odette/Odile. But I'm so happy that she made Principal at the Bolshoi...just as I'll be happy as can be once Sarah makes Principal at ABT. It's coming. I feel it in my bones! ps - AlexL, I don't think that Lane is dancing O/O...at least not yet. You might be thinking about this year's debutante as O/O, Devon Teuscher, who is more tallish...did well as O/O in DC earlier this year.

Twice at the Met. "Never again" for Aurora. It wasn't just the tech errors but the scale & perfume. Absolutely not Aurora, Raymonda & similar Petipa classics...but absolutely "Yes!" In Romantic era leads. Stage the complete Esmeralda for Sarah Lane, please!

Juliet & Lise, for sure. Not so sure about Medora, Kitri, Odette/Odile or Nikiya. Don't care for her pocket Aurora with shaky Rose Adagio. As mentioned earlier, Sarah is, to me, a perfect Romantic specialist, with some sweet soubrettes thrown in (Lise, Columbine, Praline, Swanilda). Different strokes for different folks! I still hope for her promotion to Principal soon. It's not as if Kevin MacKenzie is tallying up our "votes" on BA, LOL! But... Just in case the "ABT powers" *do* tally-up our votes: April Giangeruso for Soloist, please! Loved her Zulma!!!

Sarah Lane absolutely should be promoted to principal as soon as Vishneva retires. However, I believe that her forte is in two genres: Romantic-serious and Soubrette-comedic. I was not impressed with her tiny-scaled and bland Aurora in SB or other "classical tutu" roles, such as that unfortunate Flames PDD with Simkin at the Kenn Cen a few years ago. But her wondrous Giselle this past week proves that Sarah is much much more than a cute soubrette which, I believe, was her problem in the past. Corps-into-soloists: April Giangeruso among women; Gabe Stone Shayer and Calvin Royal for men.

Exactly what I was about to ask, LOL. My guess: Felicia is the sister of Covfefe?

The Lane/Cornejo/Shevchenko GISELLE just ended but it will stay forever in my heart. An evening of inspired genius in the three leading roles plus a few surprises thrown in. It's late and this performance deserves my full review. For now, suffice to say that Sarah Lane essayed the Giselle of my dreams...the seemingly frail, pale angel with surprising strength. The closest that I had the privilege of seeing live many moons ago, in this mold: the divine Eva Evdokimova! Lane also recalls memories of angelic Alina Cojocaru. Eva, Alina and Sarah: the Giselles that have made me cry. Nobody, besides Eva & Alina, compares (for me) with the marvel named Sarah Lane. She should be - is - a true Romantic ballerina. We should see her in other Romantic works someday...Sylphide, Fille du Danube, the Pugni Ondine, L'Ombre (the lovely Lacotte reconstructions). Esmeralda should enter the ABT rep for Sarah; imagine her in the Pas de Six solo at Phoebe's wedding, with the endless bourrees zig-zagging across the stage, limp port-de-bras expressing sadness. More anon, once I'm back in DC and gather my thoughts on all soloists tonight. Even Moyna and Zulma were special.

That's what I recall, maps..."handshake deal." The TASS article is wrong. The Kirov Ballet was at the KennCen twice (not once) before the annual appearances began in 2002: fall 1991 (Giselles), as well as 1989 (Corsaire, Sleeping B, +). Before that, the Kirov appeared in Wolf Trap Park, in the DC area, in '86...the famous re-opening of detente with Swan Lake & a mixed bill w/ Shades, Paquita, etc. As for the Sputnik article, I wouldn't take that as 100% truth (with "the Met" in the title!), as much as we'd all love for it to be the truth. May this gig go on for 100 years. But the KC leadership and Board (and politics) have changed a lot since even the Michael Kaiser era. There are also budgetary considerations. All the more reason to enjoy the Mariinsky while we have it...especially in the big imperial ("elitist"?) productions.

It didn't last more than two seasons, if that. Premiere at the start of White Nights 2002, then on tour in NYC a month later, then at the Mariinsky Festival the following winter. One act was telecast as part of the Petersburg-300 celebrations, with Putin in the audience. That's it, that I recall.