Marc Haegeman

Is that so? Besides he only goes as artistic director, he remains as choreographer. Ratmansky never worked with Zakharova. Nor did he hardly ever create anything for individuals within the Bolshoi context: he created for the company. Bright Stream, Bolt, Le Corsaire, Flames of Paris, are all full-length often very theatrical, dramatic company ballets; Card Game is a one-act piece, but also essentially a company ballet. His creation for Vishneva is flawed, simply because Ratmansky had to create a star vehicle for her, which is not his favorite way of working. Osipova danced Kitri, Gamzatti, In The Upper Room, Giselle, Sylphide... I don't see what that has to do with Ratmansky's success, except that he has an eye for talent (although in her case it's that obvious one really needs to be blind not to acknowledge it and give her the chances.)

That's definitely one of the best documentary films about Giselle ever.

The Shade pas à trois in the Paris "La Sylphide" wasn't originally there. Yet it was interpolated some ten years after the premiere by Taglioni from his own 3-Act ballet "L'Ombre" created for St. Petersburg. Nikiya does indeed appear in her Shade costume during the trio with Gamzatti and Solor in the Vikharev reconstruction. Nanarina, of course the current Paris Sylphide by Lacotte involved a great deal of research, but choreographically it is still in essence a pastiche from the 1970's, while interpretation-wise it doesn't carry the same weight of tradition as the Danish version.

They can 't compare, that's true. Moreover in some cases it's really about small things that change. That Zibrova at the end of the ballet briefly lifted three inches of her skirt to reveal a sylph's tutu was something that many of the audience members didn't even notice, let alone that they would question it.

You're welcome, Bart. Actually, Guérin's preferences, tastes and emphases were generally shared by most of her generation at the Paris Opera. You might want to check out interviews with Platel, Maurin, Legris, Hilaire etc and they all more or less fit the same artistic profile (not that there's anything wrong with that.)

There is an old Dance View interview with Isabelle Guérin online from late 2000 when she was still dancing with the POB.

Of course, as you can see Anne, it are Danes (Kobborg, Englund) who initiate and suggest these different interpretations, be it on non-Danish ground. In Kobborg's production staged for the Bolshoi I didn't think though that Effy and Gurn were particularly strong or likeable characters, they seemed to disappear somewhat within sets and costumes, if you know what I mean. I didn't really care what became of them. Yet perhaps that had also something to do with the casting. Thanks for the hint about the book!

It's the Paris filmed Spartacus with Acosta/Kaptsova/Volchkov/Allash that is due for DVD release.

Ohh, if only that one would make it to a commercial release... Helene, it's due for DVD release.

Should they be? Trust me, nobody is angry.

Spot on, cygneblanc - yet for some people it takes time to grasp that personality and talent does transcend limitations of choreography and stage.

Oh, I agree. In Aegina I'm guessing that Zakharova has finally a role vulgar enough to suit her. As for the screening itself, I'll admit that despite all the raves addressed to Acosta, I just couldn't bring myself to cough up $20 for Khachaturian's music, Virsaladze's designs, Grigorovich's thumpingly macho histrionics, the excess of unison dancing and all that running at each other with outstretched arms. As for Aegina and that staff, I've always done my best to blot it out of my memory. Thanks, but I'll watch him in other roles. Incidentally, is there a Grigorovich variation or pas de deux in which the heroine doesn't wrap her forearm around her head? Rest assured this DVD doesn't carry any obligation to purchase it.

We should cherish this recording for what it is: a truly magnificent performance of the title role. Spartacus tests to the limit Dickie Buckle's belief that "Ballet must be BEAUTIFUL!" Spatacus is a really ugly ballet, but it IS great. Volchkov looks like a remarkably beautiful Crassus -- it may work. (It's Aegina who has to be ugly.) And Acosta looks just from this clip ideal for the role -- born for it. His heart is in it. Ugly in character, yes, not in appearance. And now that Svetlana Zakharova dances the courtesan, you may really forget that Aegina is ugly .

Olga Chenchikova of the Kirov once mentioned Raymonda as the role demanding most stamina, not only because of the endless variations and dancing, but also because when she is not dancing the positions and the way she stands need to be correct. In other words there are no real periods of rest. By contrast, Kitri leaves a lot more freedom in this respect.

The "I was once a Sylph too" interpretation was done by Irina Zibrova in Johan Kobborg's staging for the Bolshoi. In Zibrova's case it was intriguingly apt - being still a rather young woman and not at all ugly or repulsive. She grew very tender at the end and seemed to regret the fatal outcome. Kobborg also sort of suggests a romantic relationship between James and Madge, the double outcast - thrown out of the household and out of his heart. When Gennady Yanin performed Madge on the second night at the Bolshoi these ideas were wisely left out and he played it in the more traditional way.

We should cherish this recording for what it is: a truly magnificent performance of the title role.

I like how you said that and I agree totally. Thanks, Ostrich. Bearing in mind that they filmed Acosta's Spartacus last year, there's very little or no chance at all they will ever film Vasiliev for commercial release.

Some truly 1st class clips. Give a perfect idea of what the performances were like... Long live youtube!

Sorry for not replying sooner, Lidewij. I was just finishing my review of it. You can find it here: The Bolshoi Ballet finds a new Spartacus.

There is always hope

None, I'd get Osipova and Vasiliev in the Bolshoi's version, staged by Alexei Fadeyechev.

Never buy tickets especially for a dancer when it's the Mariinsky, you will get disappointed because of last-minute cast changes But if one had the choice, I'd recommend (in this order): October 7, 2008 7:30PM Don Quixote Novikova-Sarafanov October 8, 2008 7:30PM Don Quixote Vishneva-Fadeev Novikova and Sarafanov are at this moment the best Don Q couple you may get at the Mariinsky. Tereshkina is about as close to Kitri as Lopatkina is to the Blue Angel. As for Giselle, I'd rather buy that second ticket of Don Quixote instead.

Alexandrova was the best part of the whole show, that's for sure. You're right. She commanded the stage like a true ballerina. Antonicheva was not that bad as Phrygia, she knows the role inside out and was obviously helping Khromushin a great deal in the duets. He did a fine job, he survived the physical hurdles. Now he needs to find what to do with the character. But for a debut in this taxing role, he was really OK. I can't imagine that you would want to miss tomorrow's performance.... Trust me, you're in for a treat.

Exactly. They only have 3 or 4 programs per season. But you could ask yourself, why bother with it then? By performing a Balanchine ballet for 5 times and then drop it, you will never create genuine interest from dancers or public (let alone any amibtion to become a decent Balanchine company) - because in this case neither takes Balanchine for granted.

Leigh, the majority of today's dancers was already there under Denvers. Of course there are a few new faces who joined since Bennetts is directing and lest one should forget Denvers muse, Aysem Sunal, thankfully left with her master.