Marc Haegeman

Yeah, but what do you mean by it?

What is your definition of "Breughelish", papeetepatrick? Interesting choice of words, but just curious what you mean with it ;-)

The biography of Yuri Burlaka on the Bolshoi website

I'm reading your words again and I still don't know what you are trying to say, Natalia.

We shouldn't make too hasty conclusions here, Natalia, because it seems the position of Grigorovich within the new structure still needs to be cleared out.

According to the latest news from the Bolshoi, Yuri Burlaka is going to succeed Alexei Ratmansky as artistic director of the Bolshoi Ballet, starting from January 1, 2009. Burlaka (39), a classmate of Ratmansky, is an expert in ballet reconstruction, he is now heading the Russian Ballet company in Moscow and was with Ratmansky the main force behind the revival of the Bolshoi's Corsaire last summer. At the Bolshoi he also took part in the 2004 workshops, reconstructing fragments from Reveil de Flore (Petipa) and The Little Humpbacked Horse (Gorsky).

Ratmansky will be chief guest choreographer and responsible for his own ballets in the Bolshoi rep, as well as for new works.

They also pulled Yuri Grigorovich back in as ballet master responsible for his own ballets at the Bolshoi, but also to decide about the casting of new soloists and touring. More details later.

Article in Izvestia, March 3.

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, and one totally absorbed by the role. It might be called the "method-dancing" approach.

In Sylphide her plasticity had changed again, the mime was detailed and subtle (as for example Paul and Bart noticed in the first eye to eye meeting with James), the emotions were filtered (until her death scene where everything was let loose, apparently as a spontaneous reaction to her James). The performance was full of unforgettable moments, like every encounter with Vyacheslav Lopatin's James, or like in the 2nd act where she catches this (imaginary) butterfly and her whole body seemed to be shivering with the beating of its wings inside the palms of her hands. Combined with the sheer quality of her dancing, the jumps, the ballon, the flow and the effortlessness (which I guess most people now take for granted with Osipova, but it remains no less outstanding), all fine-tuned to the needs of the piece, as a theatre experience I found this pure magic, as a debut a fantastic achievement.

Hans, Lezhnina was 20 when she first danced Aurora in The Sleeping Beauty.

There is this old interview (1998) with her in Dance View magazine, which sheds some light about things mentioned here:

Larissa Lezhnina

The Bolshoi Ballet premiered its new production of Bournonville's "La Sylphide", in a staging by Johan Kobborg, on February 20. Dancers include Osipova, Lopatin, Zibrova, Krysanova, Godowsky, Yanin.

A selection of photos can be seen here:

http://www.for-ballet-lovers-only.com/bols...ilfide2008.html

Thank you for your visiting.

re. Tsiskaridze as a possible successor. The Kommersant article's words about NT possibly doing away with the 'hits' of the past five year's repertoire (e.g., reinstating Grigorovich versions of all ballets) mirrors exactly what some folks in St. Petersburg say about the fate of the Mariinsky Ballet if Lopatkina ever became its Artistic Director: the end of the current hits (Vikharev reproductions, in particular) and the return of Konstantin Sergeev's productions as the only options to the classics. Allegiances to old coaches & teachers are a big deal with both Tsiskaridze and Lopatkina.

That would be the major difference with the current situation under Ratmansky: he not only broadened the repertoire of the company, he also always tried to keep a balance and nothing much of the previous "regime" has been discarded. Most of the Grigorovich ballets are still performed and toured. But then again Ratmansky also still gives Tsiskaridze opening nights and performances...

Quote:

“…Last staging of the Lavrovsky’s "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…”

There was between those two a Grigorovich’s production of “Romeo” in 1979 with Bessmertnova and later N.Pavlova and Ananiashvili as Juliet.

Although I personally prefer the Lavrovsky’s ballet it seems to me that the Macmillan’s version will suit Osipova best.

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.

That's why I found his comment so noteworthy, because he does not take credit for more than raising the Bolshoi's profile -- by virtue of touring extensively, the profile is raised, but to have it raised in a positive way, the company had to be well-prepared when it toured -- and guiding it through the difficult time of the renovation of the main theater.

In Seattle, we found out what happened to our ballet company when the Opera House was closed for 18 months, and they performed in the arena next door, and it several years for the company to make up the deficit, and I don't think his contribution should be underestimated in this regard.

Absolutely, Helene. When I interviewed him for Dance View in 2005 Ratmansky admitted that the closure of the main theatre and more exactly the possible consequences for the company were one of his main worries. But he succeeded brilliantly in coping with that.

Thank you everyone for your appreciation - I will tell you if my teacher gives me A+! I was struck by what Ratmansky said about Osipova not performing Medora in Paris - that a fortnight before she decided she would not be fully ready. This kind of fastidiousness is rare outside Russia, I shld think. In England and America, a fortnight - even a few minutes? (see Mr B, if I recall aright? ) - can be considered quite enough for a ballerina to pick up a new leading role and perform it to the public. One attitude is about serious study, the other is about show business. Osipova seems to be treating her role with the same perfectionism and reflectiveness that is more expected in a profounder ballet than a frivolity like 'Le Corsaire' . If it was the same seriousness of mind that she applied to preparing her performance in the Twyla Tharp ballet that they did in London, it certainly is not reducing the bubbliness of her impact, if anything the opposite. Even though she was not the lead, she was, like Ratmansky said, absolutely noticeable !

Delibes, I wouldn't call the new Bolshoi Corsaire a "frivolity". It runs about 3 hours 40 and the main role of Medora is really a marathon, not only technically but there are also a lot of mise-en-scènes, mimed and acted scenes which she needs to learn. As a matter of fact Osipova did learn the whole thing in less than two days time, but eventually she didn't make her debut for a number of reasons.

Thank you, Delibes for this!

Funny, when it was announced here on this board back in 2003 that Alexei Ratmansky had been appointed AD of the Bolshoi there was mostly skepticism and apprehension, among others that he might have turned the Bolshoi into a Ratmansky-troupe. He was already condemned before he had done anything and some predicted the coming years as lost years for the Bolshoi. Well, I'm glad we were proven wrong.

On the other hand there is now a tendency, especially in the West, to give all the credit for the current blessed state of the Bolshoi Ballet to Ratmansky. It’s an often heard misconception to think of the company as ailing when Ratmansky took over. The Bolshoi that we admire and praise today is as much the work of his predecessors Boris Akimov and Alexei Fadeyechev/Vladimir Vasiliev as it is of Ratmansky. This in no way diminishes the significance of Ratmansky’s achievement (as we know it’s easier to destroy a good company than to preserve and build upon its qualities, make judicious choices of repertory, create and innovate, promote talented people, etc) and like he says himself he succeeded admirably in improving the company’s profile in the world. We all hate to see him go, but the only one who bites the dust here is the Bolshoi, not Ratmansky.

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 scheduled.

Incidentally, here's a bit from an interview for Marc Haegeman printed in the Summer 2007 issue of Dance Now, It's relevant to the masculine-femine issue.

MH: Are there dancers you particularly admire or who serve as models for you?

NO: Models, not really. They there are many dancers I like and from whom I try to pick up certain things -- ballerinas, but also male dancers. It may sound strange but I adore Rudolf Nureyev. I have seen lots of films and read several biographies of him. The way he used to enter the stage is so impressive. ...

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.

Next to her ability to adapt her plasticity to the style required by each ballet or role - as one can see in her "Don Quixote" (Act 1 and Dream scene), "In the Upper Room", but also smaller bits like the peasant pas de deux in "Giselle", or Frivolity in Massine's "Présages", or now her Giselle - I find this the most cherishable quality of all, much more so than the fact that she is loaded with energy and a great jumper and turner. And that she along the way revitalizes most of the "old" ballets she tackles is a welcome bonus. For someone of her age that's quite an achievement.

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.

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.

The Bolshoi Ballet returned to Paris for three weeks at the Opera Garnier in January 2008. The programme consists of "Le Corsaire", "Spartacus" and a triple bill with "Jeu de Cartes/Card Game" (Alexei Ratmansky), the Kingdom of the Shades from "La Bayadère" and "Pique Dame/Queen of Spades" (Roland Petit). Here's a selection of photos from this tour on For Ballet Lovers Only.

Thanks for visiting!

Marc, thank you for coming in on this one. I'm curious, would this review be possible in the European papers with which you are familiar? This is really the editors' doing rather than the writer's. American newspapers aren't hiring arts critics these days, and often send someone to review performances/events outside of his or her specialty. I've been told by friends in Copenhagen and Paris that arts criticism is also focused on movies and rock music. In London, this does not seem to be the case. What's your take on the issue?

Alexandra, absolutely, it's possible in European papers. Just check the Dutch, German or French newspapers when they cover ballet performances (if ever they bother). It's even trendy to say things along the lines of: Sleeping Beauties (in plural) are old-fashioned and by definition pointless, long live the Forsythes, they represent the future... etc. London might indeed be an exception. In Belgium newspaper critics are entirely focused on contemporary dance, classical ballet isn't taken serious (it's children's cotton candy delight for Sunday matinees). It's the same tendency: classical ballet has no longer value for us in the 21st century, it's moreover expensive so let's get rid of it. Such ideas are very much alive in the cultural (and political) establishment in Europe, but doesn't necessarily reflect the taste or the preferences of the general public.

The analogy with the Louvre actually comes from étoile Jean-Guillaume Bart of the Paris Opera, when he was pondering about the sad state of classical ballet in France.

Let's burn down the Louvre, Dick. Most of what's inside has lost its meaning for the 21st century, and I never loved paintings anyway.

I added a new gallery about the Bolshoi Ballet's production of La Bayadère, featuring Maria Alexandrova, Svetlana Lunkina, Denis Matvienko, Natalia Osipova, Nikolai Tsiskaridze, Andrei Sitnikov and artists of the Bolshoi Ballet:

La Bayadère

Thanks for visiting. Enjoy!

Time to update your database, White Nights Foundation of America. If you can organize expensive events you can also make sure your information is correct

Thank you, Adam.

Just found on the Net: the official website of Natalia Osipova (in Russian and English). Natalia Osipova.

For all admirers of the sparkling young Bolshoi soloist this looks like the place to be.

She is still there allright. Maya Dumchenko is one of the many sad examples of artistic neglect at the Mariinsky. The usual pattern: first they push you, then they dump you. She was gradually left out of major tours, premieres etc. On top of that she was injured for a long time and made some personal decisions which in my view haven't improved her situation in the company. But yes, occasionally, you can still catch her in a St. Petersburg performance.