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Marc Haegeman

Editorial Advisor
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About Marc Haegeman

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    dance writer and photographer
  • City**
    Belgium

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  1. I thought that Maria Alexandrova was the only true classical ballerina (not a term I use lightly) with real authority in the Bolshoi on their last visit to London. There were others dancers who performed with technical authority who are principals. Natalia Osipova was a star (not a ballerina) in the making and the only great artist in the company was Yuliana Malkasyants who is a legend in her lifetime. I do not know why Alexandrova is not a principal, most serious minded ballet goers in London I spoke to think her superior to the exaggerations of Svetlana Zakharova. But Alexandrova is
  2. I thought that Maria Alexandrova was the only true classical ballerina (not a term I use lightly) with real authority in the Bolshoi on their last visit to London. There were others dancers who performed with technical authority who are principals. Natalia Osipova was a star (not a ballerina) in the making and the only great artist in the company was Yuliana Malkasyants who is a legend in her lifetime. I do not know why Alexandrova is not a principal, most serious minded ballet goers in London I spoke to think her superior to the exaggerations of Svetlana Zakharova. But Alexandrova is
  3. European fans of Maria Alexandrova took note that she will guest with the Paris Opera Ballet as Raymonda, December 27 and 30. Ruslan Skvortsov is her Jean de Brienne.
  4. Exactly, I made that very same rediscovery a few years ago when I was transferring my VHS tapes to DVD. She was ignored allright, but then again, these competitions.... Alexandrova would strike back two years later with a gold medal at the Moscow Competition. Here's her personal website, different from the one mentioned above, which was only a fan site.
  5. Lest we should forget, here is Osipova's website, with biography, plenty of photos etc. in English and in Russian. Natalia Osipova website.
  6. Natalia Osipova was just awarded the Golden Mask (the highest theatrical award in Russia) for Best Female Dancer (for her role in "In the Upper Room"). Not bad for a 21-year old.
  7. This interview is indeed required reading. The original Russian text in the form of a monologue was published on Osipova’s site (all well-versed enough in Russian can go there). I don’t see much point in comparing Osipova’s debut as Giselle with the autumnal performance of Bessmertnova (great to hear, though, she is considered “perfect†now ), and moreover she is not a Bournonville dancer, she is a Russian-trained dancer performing Bournonville. Yet what I found amazing about her Giselle and Sylph is that for each ballet she appeared wholly transformed, a totally different creature, a
  8. Grigorovich's "Romeo" was abandoned in 1995 and Lavrovsky's old production was revived that year, so it came before the latest revival. I found Osipova's mad scene in "Giselle" one of the most unsettling I've seen. Her range of emotions within that short amount of time is amazing, juxtaposing extreme tenderness with outbursts of grief and despair in less than a wink.
  9. It's also interesting to see how a dancer like Osipova challenges the other soloists who perform the same principal roles. It's clear to everybody in the company that nobody dances Kitri the way Osipova does. In comes this little spitfire who all of the sudden places the hurdle a lot higher. Some take the challenge and try to change their approach even if they realize they cannot really 'outdance' her, others just don't and seem to give up. Question is how this will develop with Osipova getting more and more principal roles - Giselle now, while Medora, Sylphide, Aurora and Flames of Paris are
  10. She also mentions that she has danced the 3rd movement of Balanchine's Symphony in C. The dancer I remember in this is Merrill Ashley. I'd love to see Osipova tackling this particular Balanchine. Yes, Bart, but the reason she mentioned Nureyev is primarily for his stage presence. What Nureyev and Osipova have in common is this very special magnetism which draws you toward them. You simply cannot avoid watching Osipova when she is on stage, no matter how many other dancers are around, no matter what role, because you immediately realize "something is going on" when she starts moving. Ne
  11. Exactly aurora. Currently there is no "Romeo and Juliet" in the Bolshoi's rep. Last staging of the Lavrovsky "Romeo" dates from 1995 and it was last performed somewhere in 2000. In late 2003 the Bolshoi got the lovely Radu Poklitaru "Romeo and Juliet", which isn't exactly the best version for any classical dancer (or classical company) to come out with. Happily it seems to have been abandoned.
  12. A very interesting discussion. I'm quite relieved to hear that Natalia Osipova just received the 2007 UK National Dance Award for her performances in London last summer, and for best "female" dancer... UK National Dance Awards On the side of this, it would also help if people stopped judging and criticising dancers on the strength a few crappy youtube clips or a DVD. They are interesting to a certain degree as recordings documenting a performance or a dancer, but they can never replace the live performance.
  13. For my money, Osipova was the revelation of this Bolshoi tour, pure and simple. Her debut in Pharaoh's Daughter was excellent; her Don Quixote was nothing short of astonishing. I recently added a small gallery of studio shots.
  14. Azulynn, Osipova is listed as a member of the corps de ballet on the Bolshoi website http://www.bolshoi.ru/ru/theatre/ballet_troupe/cdballet/ (in Russian).
  15. Thank you all, for your kind words.
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