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Mathilde K

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About Mathilde K

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    ballet critic
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    San Francisco
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  1. When reading Jennings one at least understands what he is talking about. Very telling are the words Jennings uses comparing the scale of the interpretations of Skoryk and Stepanova. Instead of 'grandeur' I would say bolder but simpler, and instead of 'smaller-scale' I would say - vastly more intimate. Unlike Jennings, I saw both dancers many times and have no axe to grind against Skoryk. Still, I understand Jennings' reservation vis-a-vis Stepanova's rendering of Odette: in London the reciprocity of feelings wasn't sufficiently articulated in the duets of Odette and Siegfried. She was too pr
  2. Mathilde K


    David Dougill in Sunday Times http://www.thesundaytimes.co.uk/sto/culture/arts/article1443371.ece Quote: "First off were Oxana Skorik as Odette/Odile and Timur Askerov as Prince Siegfried both of them first soloists. Askerov has a warm personality (he smiles a lot) and a plushly elegant dancing style. Skoriks Odette has beautiful line and phrasing, but is too remote and mannered in characterisation. Their lakeside pas de deux was meticulous but soulless. In the ballroom scene, Skorik was a dazzling fouetté-ist, but her seductiveness was mostly surface."
  3. Luke Jennings in Guardian http://www.theguardian.com/stage/2014/aug/10/mariinsky-ballet-swan-lake-review-skorik-parish/print Quote: "The following day Yulia Stepanova performed the same ballet with Yorkshire-born Xander Parish. Stepanova is a smaller-scale dancer than Skorik, and without the same grandeur of line, but she is gorgeously sleek, and her work has a very appealing musicality. Like Skorik, Stepanova is much more engaging as Odile than Odette. Her white swan has its joyful moments following the Act 2 adagio she gives Parish a look of the sheerest rapture but she is too reliant,
  4. Mathilde K


    None of the discussion that took place in the Fall 2012 lost any actuality.I find it ironic that in the thread started in anticipation of Skoryk's opening night performance of «Swan Lake» in California, not a single person reported on that performance. A catastrophe occurred, as some feared, in the fouettés. This did not prevent Fateev to give her 4 more «Swan Lakes» during that tour. In Berkeley, however, he decided to place Kondaurova on the opening night. I enjoyed that performance tremendously in spite of the fact that apart from Adagio, Kondaurova was not particularly subtle as Odette, wh
  5. Mathilde K


    They are afraid. Fear of being replaced. At Mariinsky there are no irreplacable people.
  6. If you are making comparisons to prove that one ballerina is "better" than another one, then it is an established practice to compare dancers at the same stage in their development. In the case of Lopatkina and Stepanova this will be in any case problematic, since Lopatkina had the full support of the company in her first years at Mariinsky -- something Gergiev liked to boast about, while Stepanova has been experiencing the opposite of it.
  7. I don't expect this to be any different from what happened on Saturday: a raucous reception by the audience and reviews saying 'nervous', 'lack of confidence in her technique', and similar nonsense.
  8. Compare the second «Swan Lake» of Lopatkina with the second one of Stepanova, if you must -- not the 50-th.
  9. Well she doesn't delete the frappes, she just doesn't articulate them very well. If it's a variant, I must say it's a variant that no O/O I've ever seen has tried to delete from the choreography, so I don't know what you're getting at exactly. Variants are also in 'degrees'.
  10. If she didn't do it because she "hasn't mastered yet", I assume this means it was too difficult for her. What if this is a variant in the choreogrophic text you are not aware of?
  11. And what is this supposed to prove? That Stepanova is not delicate, refined, or poetic?
  12. After Stepanova's repeat of her «Swan Lake» on July 6, for several days I couldn't find the words for what I witnessed. It finally occurred to me that I saw a preparatory sketch of a future masterpiece and that we were going to see many more such preparatory sketches, which does not detract from the joy and excitement of witnessing how they appear. Interestingly, Sarah Crompton in a joint review of Lopatkina's and Stepanova's «Swan Lakes» says: "her performance was full of lovely things but it felt like a sketch not an interpretation." If by 'interpretation', one understands a finished piec
  13. I haven't seen any nervousness: delicacy of movement is not a sign of 'nervousness', being a Coriphée is not a sign of being 'quite junior for principal roles'.
  14. I wish she used her "celebratory status to promote" high standards in the Arts.
  15. They were better: Maximova's footwork was legendary. By the way, the "1987 video" was filmed a few years earlier (I was in there).
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