Natalia

Nina is the AD of the national ballet company of Georgia, based in Tiblisi. Maybe she could be a guest stager/coach for a specific work.

Whatever happens with Swan Lake casting, I just found out that I must travel for work these next couple of weeks, so I'll be counting on your reviews of any scheduled (or not) O/O debuts. I should be back home in time to go to NY for "Tchaikovsky Spectacular" shows on July 7-8! 

3 minutes ago, kfw said:

 

Agreed, with the difference that Wheeldon is no Balanchine (and Who Cares? is far from one of may favorites Balanchines). But if you loved it, more power to you.

Right...and I heard nothing but cheers from the rest of the paying audience. And yes - Balanchine trumps Wheeldon & practically everyone else in the craftsmanship of ballet.

More thoughts on the ballets that I loved in yesterday's performances (which means all but TIMES).

Matinee:

American Rhapsody: I loved it. No more "Broadwayish" than Who Cares?, IMO. Pure enjoyable dancing to beautiful music, with beautiful decors. I kept waiting for the "kicks" and "legs" that others above referred to. Huh? All four soloists were terrific. This was my first look at Russell Janzen in a while...what a smooth, ultra-musical dancer he is!

Four Ts: A fine rendition of one of Mr B's greatest works. I never grow tired of the beautiful Hindemith score. I've already written about Scheller's touching farewell. (No, Drew, she did not fall...maybe a slight mistep during her brief solo moment after the Sanguinic corps had entered?) I was a bit troubled by slight changes/inflections through the years to the choreography of the three "theme" couples at the start, eg, the 3rd couple's pirouettes (while her legs are bent) didn't keep up with the music...and the final carry into the wings is done with a slightly lower angle of her legs. The finale of Four Ts never fails to move my heart, especially this time, with Angle's final, extra-high toss of Scheller!

(Nothing to add to my earlier thoughts on Times Are Racing. So happy that I traveled to NY to see Peck's sublime & classical newest creation, The Decalogue, once I found out that it wasn't being performed in DC!)

Evening:

Square Dance: fabulous, crisp, sharp corps. Ashley Bouder as magnificent as ever...much more forceful and playful than Fairchild at the opener. Harrison Ball acquitted himself nicely but, even in 2nd tier, I could see profuse sweating around his face & neck...and his countenance was sort of  deer-in-headlights "o mouth" until he cracked his first smile, making all of us at ease! He was mostly controlled and wonderful in the famous slow solo with one tiny exception when he shook (passé towards the end).

Tarantella: Wow, Joaquin DeLuz was extraordinarily energetic, wild,  charismatic, impassioned... absolutely THE BEST TARANTELLA GUY SINCE BARYSHNIKOV!!! How could lovely Indiana Woodward do anything BUT triumph in her debut? She was pure delight with her inflections, musical moves...loved how she took those cute plies a la seconde on point...the adorable toss of arms and carefree glances. She only faltered a bit during the first-solo diagonal of extra-slow double pirouettes en attitude...almost coming off pointe on two of them...but all else was grand.

Odessa: I love this new ballet  even more on 2nd viewing...although I agree with New Yorkers that the first cast (which I saw at the opener on Tuesday) is the most effective dramatically. Megan Fairchild is so soft & sweet; she pushed herself dramatically here but it's not quite there yet. Tyler Peck was certainly as good as Bouder was earlier as the pirouetting gal. Daniel Ulbricht was fantastic in his brief solo! Unity Phelan danced Mearns' role prettily but without the extraordinary backbend and other "Odette moments" that are key in the final minutes of the ballet. (Yes, the finale is replete will allusions to Swan Lake...the corps ladies collapse to the famous Odette-on-the-ground pose at the very end.)

I admire the way that Ratmansky captures the characters that I've known in my own holidays in the Black Sea coast during hot Augusts...normally-nice people drinking far too much vodka and Caucusus cognacs in the nightclubs. In the ballet, the husband of the woman in orange is an a** who, while drunk, invites his buddies to "dance and toss" his woman; big slap ensues. Trust me, this is typical nightclub on the Black Sea in August...the aroma of grilled shish kebab  in the air & occasional sound of ships' horns. (I'm lucky that my husband hates alcohol but we're in the minority in those parts! We just leave when the drinkers get unpleasant & fist fights begin.)

Not to excuse it but I find it amusing how westerners who only know their own little world are quick to turn everything into "Defy!" or "I am Woman. Hear me scream!" 

This is among Ratmansky's absolute masterpieces, in keeping with his four previous ballets for NYCB. 

Odessa is a finely-crafted "total work of art" - music, costumes, steps, performances - as is...

Ro-Deo: Four Dance Episodes: Peck struck gold here, as he did in InCreases and the three Sufjan Stevens works earlier (but not in last year's overstuffed Most Incredible Thing!).

I could watch Ro-DEO 1,000 times straight and not be tired. I totally buy the new "theme" of athletes at a meet, rather than cowboys. Kudos not only to Peck & Mearns as the romantic duo, but to Gonzalo Garcia, Andrew Veyette & (again) Daniel Ulbricht as the Three Hot Shots...and to the entire ensemble of guys, forming the gorgeous compositions that Peck creates so well when in "true ballet" mode! Audience went crazy-happy!!!

If ever NYCB returns to Russia, they MUST take this. It will be a huge hit. A calling card. 

2 hours ago, kfw said:

 

Thanks a lot, Imspear. I was planning on skipping the company's visit this year because there was so little Balanchine, but we had to be in Herndon in the morning anyhow, so I picked up discount seats for the matinee. Wheeldon's piece left me cold, Rhapsody in Blue notwithstanding, but then Broadway's not my thing. The Four Temperaments received a mostly strong performance, I thought, and it's a big favorite, but I've sometimes been disappointed. I had no/low expectations for the Peck but though it was great fun, especially with that thunderous score. I do feel sorry for the two elderly couples in the orchestra we saw leaving - and we were halfway down the floor so there may have been more. They must have hated the loud contemporary music, and there was nothing in the program or in the marketing, at least that I saw, to prepare them for it. The Hindemith score can't be everyone's cup of tea either, as great as it is. There was no typically lovely classical music to be heard this afternoon, but that was fine with me.

Sorry but not just the "elderly" reacted negatively to that atrocious and loud music. Younger-than-boomers were seen covering their ears up in 2nd Tier, more than a handful departing well before the end. I came close to vomiting. The odd thing is that Justin Peck also created one of the most likeable ballets of the run, RO-DEO, which received an even bigger ovation tonight (w/ Sara Mearns) than at the opening. The choreography, music, performers, orchestra, energy, even a bit of comedy (Peck "revving up the motor" before the Hoedown).

Harrison Ball & Indiana Woodward both fine, if a bit nervois, in their respective debuts tonight.. Will write more later. A GRAND night! BRAVI tutti!

Scheller lovely...danced up a storm in "4 Ts - Sanguinic" this afternoon. Received two bouquets. Many in the audience stood up and cheered for her.

I absolutely adored Wheeldon's AMERICAN RHAPSODY. All four soloists phenomenal & the corps delightful. The NYCB orch and solo pianist were heavenly....except for the big blooper at the start with the "ascending" clarinet going loopy with a discordant note at the top of its big moment...oops!

Which brings us to...THE TIMES ARE WHINING...err...RACING. Ugliest ballet I've ever seen by a top ballet troupe. This despite some nice "the old soft sneaker" footwork by Taylor Stanley & the choreographer.

The loud music actually hurts...physically made me ill (headache, plus upset stomach). Gave me and two ladies sitting next to me headaches..and we sat way up in 2nd tier! They should hand-out ear plugs or warn people of the noise.  

Maps, you're right about the streetwear costumes. It's hard to believe that they paid (credited) *both* a designer AND a "wardrobe supervisor" for this crap!!! I guess that they thought they'd get "extra brownie points" with Kennedy Center leadership by dressing one of the leading guys in a top emblazoned with the word "DEFY!" 

Or...Maybe NYCB is auditioning for a spot on one of those TV competitions that favor hip-hop values, over the clean-cut way?

Happily, I know that tonight''s Program A is a winner...so onwards and upwards! 

28 minutes ago, cubanmiamiboy said:

 

Would that be an issue in Russia...?

Unless it recently changed at the Mariinsky, no. 

My sentiments are totally with yours, Cubanmiamiboy. Alas, I can think of one reason why today's audiences will likely not see BAYADERE's 4th act: union overtime-payment rules. 

Looking forward to this. I see that the Washington DC area will be getting it on July 11 @ the Landmark Bethesda Row Cinemas, which is Metro accessible.

Thanks so much for Corsaire reports so far! How were the three Odalisques on Tuesday, 6th? I understand that Paulina Waski debuted as one of the trio...and will repeat tonight. From her FB:

https://m.facebook.com/photo.php?fbid=10213651314503085&id=1410851085&set=a.2563986544888.218735.1410851085&source=48

52 minutes ago, LadyBubbles said:

 

Actually, Lane's surprise Giselle was in the evening lol. Her scheduled one with Simkin was Saturday matinee.

I don't want to jinx it, but Natalia, I REALLY HOPE that you'll be working remotely next week

I'm totally zonked out...I was at the Empire Hotel's rooftop pool in the afternoon, then walked over to the Met for Sarah's Giselle after that. One day at a time! If there's a Sarah Lane Swan Lake, whenever that may be,  I'll just need 24 hours to arrange bus & theater tix and rearrange work schedule. Can't afford another expensive hotel night. Need to sleep in the bus after the show to not miss work the next day.

1 minute ago, angelica said:

 

Natalia, Teuscher is dancing at the matinee next Wednesday and Seo is dancing in the evening. Isn't it more likely that Sarah would replace Kochetkova on Thursday evening? On the other hand, if you need Wednesday to cool down your anticipation, then by all means work remotely on that day.  

Thanks...I meant Thursday! Still thinking about the Wed matinee last week for Sarah's Giselle, LOL. Next week would involve a very late bus back to DC, then trying to stay awake on Friday during the day. 

8 minutes ago, angelica said:

 

I would LOVE to see Sarah get this opportunity.

I've already alerted my employer that there's a small chance that I may have to "work remotely" next Wednesday! 

5 minutes ago, Drew said:

 

Thank you for these links.

 

One year a few years ago PBS --Great Performances I think it was -- showed an SAB performance. If only there were the will (and the budget) for more ...

Yes & yes! The 75th Anniv.  But imagine if CNN or the regular broadcast stations would take an interest in the SAB graduations the way that Russia cares about its young classical artists & the classical arts, in general. Any year.

Another Russian TV look at the preparations for this year's performances (several nice clips of the Bournonville): 

Just imagine if American TV would do features on SAB workshops!

http://tvkultura.ru/video/show/episode_id/1510381/video_id/1638125/brand_id/1972/

Opening the thread to discuss this year's Vaganova Acad graduation performances at the Mariinsky (June 10, 12 & 14), as well as one guest performance in Moscow later in the month.

Program:

Bournonville's CONSERVATOIRE

Lev Ivanov's LISZT HUNGARIANRHAPSODY

Lavrovsky's PROKOFIEV CLASSICAL SYMPHONY

Petipa's PAQUITA GRAND PAS 

Photos of yesterday's dress rehearsal are found here:

http://melmoth.blog/tagged/2017 graduation

What gorgeous, natural-fabric tutus! Notice that the Vaganova Acad is presenting a traditional Paquita Grand Pas (staged by Burlaka & Tsiskaridze), rather than the grand pas from the recent Yuri Smekalov version of Paquita  shown at the 2017 Mariinsky ballet festival. This segment will be led by  she who many consider the "star" of this graduation class: Eleonora Sevenard...who happens to be the great-niece of Mathilde Kchessinskaya! 

Feature on Russian TV on Ms Sevenard:

https://topspb.tv/news/2017/06/6/naslednaya-graciya-vnuchataya-plemyannica-matildy-kshesinskoj-gotovitsya-k-vypusknomu-balu/

Ok - deleted earlier quip. Not intended as joke! I can't stand dentists and will be even more hesitant to go now.

2 hours ago, tabitha said:

 am beginning to hate lopatkina... comic routine?!  how could she .those sets and cosutmes are the best i have ever seen !

I wouldn't hate. Remember that Lopatkina & the other pupils of Natalia Dudinskaya (& her partner K. Sergeyev) simply wished to "do right" for their beloved teacher & coach. It's good to understand all sides.

1 hour ago, Amy said:

It is disgraceful how the Mariinsky won't release Sergei's reconstructions onto DVD; the only thing they have done was the third act of his Sleeping Beauty reconstruction for that New Year's Gala a few years ago.

 

How dare Lopatkina use such a beautiful costume in such an appalling manner! If the Mariinsky is not going to use all these gorgeous sceneries and costumes, why don't they just let other people use them?!

Also, bits of the Vikharev SB Prologue and a big part of the A2 Vision scene, starring Ayupova & (I think) Fadeev, are featured in the 2005 docum film SACRED STAGE (filmed 2003). The largest chunk can be seen as a Bonus in the DVD...we spotted then-corps member Victoris Tereshkina (now a star) as one of the 18 nereids.

That New Years Gala's A3 of SB that you mention is not complete...ending after the Aurora-Desire pdd (with Lopatkina's Dying Swan coming in as a surprise guest). So the grand apotheosis with the moving curtain - revealing the back tableau with the Gods, as floral swags are slowly lowered from the ceiling - is cut. Sacrilegious! 

Maybe Vikharev's most recent recon of a full Petipa ballet from the Harvard notes - the Ekaterinburg FILLE MAL GARDEE - will be filmed? Even though the Van Gogh-themed designs are new, they seem very pretty & colorful (not El Cheapo).

Agree that Vikharev's "Fab5" Petipa recons should be filmed & released as a set! Of the five, only the one produced outside of Russia - the LaScala Raymonda starring Novikova - is commercially available as DVD. The Bolshoi has "filmed" COPPELIA for cinemas (and will do so again this fall). That's two out of the five on commercial film, in some form or another. Only the Mariinsky refuses to take action to commit its three Vilharev-Petipa to full filming (SB, BAYA & FLORA). If anything, the sets & costumes for those three productions are being dispersed/dismantled. For example, the last time that I saw Aurora's A2 tutu, Lopatkina had "borrowed" it for a comic routine! Shame.

Also, as many others have noticed, in the past few years the Mariinsky has been using some of the sets of the Vikharev new-old production on tours of their current (Soviet) production.

2 hours ago, Gnossie said:

It was a very beutiful farewell to a very beautiful person, Pavel (Gershenzon) will not give up on recons, is all I can say and Novikova, poor woman, she was was probably the only person from the Mariinsky crying as much as me, my heart goes to her.

reportage on Russian television http://www.5-tv.ru/news/133109/

Thank you so much for this report & link, Gnossie! My husband's sister is one of the last persons shown, standing with flowers, as the camera pans to the right. I see Novikova (for whom SV was the official coach at the Mariinsky...one of very few assigned to him). I also see Selina. 

Another article at the bottom of that web page reports that Vikharev's heart failed in the middle of a dental operation, after being given general anesthesia.  As per the headline, Vikharev's sister is filing court papers against that dental clinic. So he died while sitting in the dentist's chair. Wow.

link to story of SV's sister taking legal action: http://www.5-tv.ru/news/133176/

16 hours ago, YouOverThere said:

Wednesday's performance contained a surprisingly shaky (for the NYCB) rendition of Square Dance, with several missteps and a ballerina making an unchoreographed visit to the floor. It didn't help that the was a REALLY annoying man in the row in front of me, who was in almost constant motion and shifted from leaning way over to one to leaning way over to the other side every few seconds (I re-located to the end of the aisle for the rest of the program). They settled down for the rest of the program. I found Odessa to be by far the most interesting. Overall, the show seemed to lack passion (but I'll probably change my mind when I see it again - on a weekend).

 

Leaving, we found ourselves walking behind WB ballerina EunWon Lee. I was surprised how tall she is - probably in the 5'7" to 5'9" range.

Thanks. Finally a report of Wed night....rather than more online vids!!!! Anybody go to Program B opener last night? Am. rhapsody/ Fout Ts/ Times Are Racing ("Sneakers")

So Copeland, Seo and debutante Teuscher are the only scheduled O/Os who are injury free and at 100% readiness?

1 hour ago, CTballetfan said:

Is there any update on lead casting for Swan Lake? Both Boylston and Murphy have been injured and I would like to see one of them but I don't want to buy a ticket if they may be replaced. That happened to me once a few seasons ago when Murphy was injured in Act I and Hee Seo completed the performance. After all the cast changes this week I am skittish! Thank you for any inside info you have.

Add Kochetkova to the list of O/Os who've been indisposed in the past few days (eg, Lane took over her scheduled Giselle last week) ...so were tracking the upcoming Swan Lakes of Boylston, Murphy and Kochetkova.