Mathilde K

In my opinion, Goryacheva is subtle, while Smirnova is overdoing it. Anastasia Goryacheva is a very fine ballerina, loved by Bolshoi cognoscenti.

An excellent report. Reflecting in the most faithful way what indeed took place on both nights. I would like to add a few words about Leonid Jakobson's troupe. It is a distinguished company, in fact. During the Summer it is understandable that they cater to busloads of tourists flocking to see «Swan Lake». During the regular season they present an interesting repertoire, you will meet there top Saint Petersburg ballet experts and critics.

Go see Stepanova then. In my opinion that is going to be the event of the whole tour. I knew how singularly gifted she was before yet her last «Swan Lake» showed something I did not expect and wasn't ready for, something we haven't been seeing on the ballet stages for ages, not in terms of "pyrotechnics" — in terms of the profundity of feeling expressed in the utmost delicate and nuanced manner entirely within the idiom of classical dance. Last Sunday she embodied the unhappiness and fragility of Odette as I can't recall ever seeing. Her "white acts" were not about "beautiful lines" but about vulnerable nobility of feeling and suffering. I still can't find proper words for what I saw on Sunday, the experience was so overwhelming and transforming. Now I would risk saying, it affected me more than seeing Ulyana Lopatkina at the height of her artistic powers in the same role.

That was a tremendous performance by Yulia. After Ulyana Lopatkina, she is currently the most artistic, most refined in purely ballet terms, ballerina at Mariinsky or, even, anywhere — when one thinks of dancers of her age — articulating every movement, possessing enormous stage presence. The trembling soul of Odette is singing with Yulia's entire body. Every single one of her future appearances in «Swan Lake» promisses to become an event. Her arms, her hands, her wrists, are more than "pure Vaganova school". Lyudmila Safronova, Yulia's teacher at ARB, was particularly proud that she was able to imbue Yulia's limbs with the best qualities of the Petersburg and the French schools. Xander Parish projected well a noble and understated in a typically British manner image of a young Prince. His limited experience, on the other hand, was clearly noticible in his partnering, still a pronounced improvement over his debut in March. Other than that I think he and Yulia could make a very touching and subtle couple in the future, if they are given a chance, of course, for repeated performances. One has to take into account that this was only their second time together. Andrei Ermakov, in comparison, has already become a very seasoned partner, he has acquired enormous partnering experience over the last two-three years.

To say that the Bolshoi offered her much better terms would be an understatement. The terms offered by Fateev were truly humiliating. Ksenia was provided with a number of great opportunities by Fateev earlier. When she was ready to graduate his interest in Ksenia, sadly, diminished. The interest that the Vaganova Academy graduates evoke at Bolshoi has a simple explanation: their own graduates (by which I mean the graduates of the Moscow State Academy of Choreography) haven't been particularly impressive in recent years. Thus the desire to get the best from elsewhere. I expect this trend to continue in the future. One cannot even blame them for "stealing" the best from the Vaganova's Academy. The one to blame is the reckless acting director of Mariinsky Ballet. The next year promises to be very interesting, with Nika Ckhvitaria, Svetlana Strebko, Renata Shakirova, and above all Anastasia Lukina, all graduating. I just hope that the girls will be able to control their physical development better than this year graduates. If Fateev doesn't reverse his policy of active lack of interest in giving opportunities for growth to the best Vaganova graduates, I am afraid these girls should be looking elsewhere or are doomed.

At the Bolshoi that "can of worms" has been opened, I am afraid, earlier.

Here is the appropriate information on the subject, Helene. Вместе с тем источник «Известий» в ГАБТе отметил, что если бы дело было в решении постановщиков, балерина, «известная уважительным отношением к коллегам», с ним бы согласилась. Однако, по словам собеседника издания, балерина полагает, что художественные интересы в данном случае не главные, а постановщики поддались давлению руководства балета, пожелавшему видеть в первом составе других танцовщиков, «в данный момент особенно активно раскручиваемых». Source: http://izvestia.ru/news/553027#ixzz36eJ5Qopy My own literal translation: According to the source of the «Izvestia» at the Bolshoi, if the issue was decided by the producers [from Stuttgart], the ballerina, "known for her respectful attitude towards her colleagues", would have accepted it. However, according to the source, in ballerina's judgment not the artistic interests in this case played the main role, the producers succumbed to the pressure of the ballet troupe management who desired to see in the first cast other dancers, (those who are) "at the moment singularly actively promoted". Zakharova is really speaking here herself, but she prefers that she is not named. Thus, "Filin standing back", when his "singularly actively promoted" dancers are chosen while Zakharova — neither his protegé nor belonging to his inner circle — is sidelined, sounds like an oxymoron. In this case, by the way, the "management" is not just Sergei Filin alone. It is as much Dinara Timergazina. Along with the preparations for the premiere of «Onegin» in July 2013, she was also preparing the wedding of her son to Smirnova (the wedding occurred shortly after the Bolshoi returned from London). The scandal caused an earthquake at the Bolshoi. Its "nonremovable" until then director, Anatoli Iksanov, was dismissed by the minister. New director, Vladimir Urin, who replaced him, first limited powers of Filin, later in the Fall dismissed Timergazina altogether and removed the position she occupied at the theatre. I agree with your comment about fascination or, at least, preferences that artistic directors always had and will have with certain dancers. That's normal and expected. The matter is in the degrees, or rather in avoiding situations when such artists become "singularly actively promoted".

It is hard to predict what will happen to Ksenia Zhiganshina at the Bolshoi. The whole landscape is currently changing there, eroding the unique power previously concentrated in the hands of Sergei Filin and a narrow circle around him. I don't think any kind of repetition of the "Smirnova scenario" will be possible. There was no "program" in the case of Olga to begin with, she was obviously miscast in her first "big" role. It was rather Filin's own fascination with her that gave Olga the opportunities for the development of her career that others could only dream of. Already at the Academy of Russian Ballet Olga was known to be a remarkably serious girl, a "workaholic", ready to give everything to achieve her dreams. And she also had a strong character. Those qualities proved essential in the atmosphere of the Bolshoi plagued by deep divisions and tensions within the troupe. There were times when she must have felt disoriented artistically, as was attested by contradictory patterns of her performances, but her upward drive was never diminished. At the Bolshoi Ksenia will be arriving already a "professional", not an "apprentice". From now on she must be directing all her energies towards refining her technique and artistic means of expression, work on her "physique" and, of course, not miss any opportunities she may be presented with in near future.

Regarding the "lack of substance", Akim Volynsky wrote in February 1912 the following. The music of «Carnaval» is tied to the subtle sound of piano and the most delicate harmonic lyricism. Nothing here can or really wants to be materialized in a visible image. (...) dancing would only consolidate a fluid idea that provides nothing specific but rather suggests a whole world of mood. Nevertheless, Fokine wants to pour this light, this air, and these silvery, heavenly mirages into the form of ballet. Volynsky goes on assessing how successful Fokine was (in his opinion he was not) and in the concluding paragraph of his long review Schumann, Ballet, and Fokine, he has this glowing description of Tamara Karsavina's performance. Karsavina plays Columbine. In a skirt with light flounces covered with beautifully drawn little cherries, a light kerchief, and nightcap, she makes a most charming genre picture. With Harlequin she dances several pas de deux on pointe that are delicate, soft, and graceful. Her childlike gestures are affecting, and her sparkling, delicate feet, shod in dark shoes without heals, are beautiful. [Akim Volynsky. Ballet's Magic Kingdom · Selected Writings on Dance in Russia 1911-1925. Yale University Press 2008, pp.23-24] I am glad you noticed Svetlana Ivanova. A remarkable ballerina, a secret glory of Mariinsky, a perennial coryphée, she spent 18 years in the corps de ballet. For me Ivanova is a glaring example of a truly deserving Russian ballerina not receiving even a tiny fraction of the praise or attention the Western critics have been pouring on some heavily promoted "international stars".

Oh, yes, they were good "business" people. Both of them. When Nadirov, an officer of KGB, was appointed the head of the Vaganova school in 1986, he brought Dorofeeva who, like him, had no relation to ballet.When he was leaving the school, by that time called "Academy", to become a deputy minister of Culture in 2004, he anointed trusted Dorofeeva to be the next head of the Vaganova Academy. Dorofeeva continued in the same vain, she brought to the Academy Mr. Isakov, like her not related in any way to ballet — his expertise was rather in the penitentiary system. Isakov became her deputy at the Academy and that was just a beginning of the career not only of Isakov but also of Mr. Fomkin who became a second deputy of Dorofeeva, and this "trinity" has been in charge of the Academy until Dorofeeva was sent into retirement last Fall. Fomkin was anointed by Dorofeeva to be her successor, like Dorofeeva had been earlier anointed by Nadirov. Before that happened, however, they managed to get rid of a number of people at the Academy.

Quite logical. Bolshoi is not just a "state owned company", during Soviet times it was directly under the wings of the Soviet government and not much has changed since then. I remember Maximova saying after the collapse of Soviet Union that the artists of the Bolshoi like her were being treated as serfs to the state without any personal freedom whose fates and even their private life were decided by the government, so at least this has changed, the Bolshoi remains, however, an institution of special concern to the Russian government. In Russia this is an axiom repeated ad nauseam.

Zhiganshina's decision to go to the Bolshoi for me was expected as she was offered much better conditions. Klishina will be joining МАМТ (the Stanislavsky and Nemirovich-Danchenko Theatre at Moscow).

Yes, the fact that Filin surrounded himself with a small number of "his artists" to the exclusion of others. A big thing has been announced yesterday and was covered very extensively in today's edition of the newspaper Труд (Labor). A total overhaul of the policies governing employment of artists at the Bolshoi, aiming at making all decisions concerning artists transparent, and especially so the casting process. Preparation of the corresponding document began in January, and it was approved on June 30 by a popular vote after 5 hours of debates. This is really big news. The article is essentially a transcript of the long conversation held by Urin with journalists in presence of the artists who, like primaballerina Maria Alexandrova, were actively involved in preparing the document. In the light of the new policies the question arose whether Urin "would not be dismissing any of the current artistic directors?" to which Urin said "No", and then is several sentences he is reported to have been talking in approving terms about the work done by the Musical Director, Tugan Sokhiev, appointed just 5 months ago. Concerning Sergei Filin he had just one thing to say: "he didn't see grounds for terminating Filin's contract before its expiration."

That bad? http://news.yahoo.com/bolshoi-chief-pledges-39-transparency-39-troubled-theatre-140149701.html If the director himself is saying that, probably yes. For me even more interesting is that not a single response on the forum followed. Nobody concerned about 70 percent of artists upset with the artistic management at Bolshoi?

Things change. Dancers improve. While their "natural data" do not. There was time I could not watch Alina Somova. Now I do this with pleasure. Skoryk improved tremendously over the last two years and the criticisms heard earlier among Petersburg ballet goers abated. I heard a number of complimentary comments about her performances this Spring from those who criticised her earlier.

Tsiskaridze did not replace Asylmuratova. He replaced Dorofeeva, the lady who had no connection to ballet. Grigorovich's connection to Leningrad' ballet is at least as strong as to Bolshoi: he was born in Leningrad, he graduated from the Vaganova Academy, his dancer's career was entirely on the stage of Kirov, and he was formed as a choreographer in Leningrad. His most successful choreography, not just in my opinion, was the ballet done for Kirov: «The Legend of Love» . It has stayed in the repertoire of Kirov/Mariinsky since then. Barely two days ago it was danced at Mariinsky by Lopatkina, Novikova and Ivanchenko as principals. Grigorovich's «Tango» was a duet danced by 2 (two) graduating students. Compared to other pieces on a much grander scale it was a minor item in the program.

Stepanova had her first Swan lake in March. The next Swan lake Yulia will be dancing this Sunday. At Covent Garden she will be dancing it for the third time. Her debut in March generated many positive comments from people whose opinions Fateev is wise to take into account. One such opinion is that Stepanova's interpretation of Odette/Odile promisses to be the most interesting at Mariinsky in a very long time, it is mellow, poetic and nuanced, without as much as a hint of vulgarity that so often taints interpretations especially of the Odile part, every movement properly articulated and reaching completion. Such opinions are hard to ignore, so less than 10 days after her debut it was announced she would be dancing Swan Lake in London. Other developments followed as well: she was cast in the recent Mariinsky premiere of Ashton's Sylvia, and a month ago she had the privilege to open with it the White Nights Festival at Mariinsky. I expect the informed London critics to be attending her performances in August (at Covent Garden she will be also dancing the Firebird). Regarding your scurrilous remarks about Skoryk — when was the last time you saw her on stage? I saw her several times in large scale productions. There was no insecurity in evidence or anything I could qualify as "bad dancing". On the other hand, looking at her with an unbiased eye one cannot but admire her perfectly formed body. I suppose Fateev, like Vaziev before him, apparently has a strong predilection for a certain type of "ideally formed" ballerina and likes to push such a girl in her early development irrespective of whether she is ready for certain things or not. On its own I don't find this particularly objectionable. Regretfully, this is often accompanied by holding back other, no less capable dancers. I don't accept that — however, this occurs in other companies too.

It is quite often repeated that Froustey is a par excellance "White Classics" ballerina. I have second thoughts about that. I saw her around 20 times and found her probably most attractive in Ratmansky's «Trilogy» where she was dancing her own part and, after an intermission, also Messmer's part who she was substituting for that evening. Finesse and light touch she is always bringing in when she is on stage made certain crude mannerisms of the choreography look a lot more appealing. In my post I meant these. They are all several months old and I am afraid we will not have any more from the War Memorial Opera.

Talking about the soloists: all three casts are very well worth seeing. Each will offer a memorable performance. I would attend all three. Krysanova is a stellar artist, in its own class. With her perfect frame she is truly sparkling on stage. Fabulous as Kitri, and great in everything else as well. I can't really think of any ballerina currently in the West who is technically as brilliant (I am not sure, e.g., Semionova can be as scintillating, light and lightning fast, at the same time never giving any hint of "athleticism" or "gymnastics"). Alexandrova is known to be a great technician. In spite of her much bigger frame, she is fast, precise, and generally remarkably refined. Her Medora in the 3rd cast of «Le corsaire» at Bolshoi a few years ago was a revelation. Kretova is a Filin's protegé. She had been dancing for 8 years at the «Kremlin Ballet». When Filin was appointed the artistic director of MAMT (the Stanislavsky & Nemirovich-Danchenko Theatre), she moved up to MAMT. Not much later, when Filin became the artistic director of Bolshoi, she moved up with him to Bolshoi where she is now occupying the position of a leading soloist. In a company as big as Bolshoi that really means a lot. I like her personally: very pretty and, in private, witty and very intelligent. Charming on stage and possessing a near-ideal body frame, if slightly less capable of 'finesse', but certainly never 'dull'. I haven't seen her as Kitri, but that part suits her temperament well. An excellent dancer, no doubt. I would happily attend any performance featuring her. [All dancers above the corps de ballet level (and many in the corps de ballet) at Bolshoi are generally of very high quality.] One should not forget that with the companies like Bolshoi and Mariinsky, the real hero is the corps de ballet. What thrills me always most with Bolshoi and Mariinsky are those genuinely rare moments of seeing on stage great corps de ballet in classical repertoire while in the West I got accustomed to seeing only great soloists.

There are only four videos on that YT channel, all four one year old. Of her "relatively" recent videos I know only of her SFB gala Grand pas classique and DQ. Those are a few months old. Has anything else appeared recently?

But only with Kochetkova he will really have a single opportunity to show his partnering skills.

The opening night gala and the last show ... looks rather strange. In comparison, Rubén Martín Cintas, in spite of having retired, will go on stage seven times.

The whole interview is full of interesting remarks on whatever she is being asked about. And, amazingly, everything she says rings true and sincere.

An excellent interview. It reveals more than pages and pages of (mostly empty) speculations. Froustey's road to the étoile status at the Opéra remains open but she absolutely must do certain things on her own. So much depends on what she does even though she likes to think it doesn't.

Zhiganshina and Klishina will be heading to Moscow: Zhiganshina joining the ballet troupe of Bolshoi as a soloist, Klishina — will be joining МАМТ (the Stanislavsky and Nemirovich-Danchenko Theater). Amielishko, Dementieva, Gimadieva, Guseinova and Russkikh have been chosen by Mariinsky, Rudnickaya — by Mikhailovsky, and Yalynskaya — by the Jakobson's Ballet Theatre, whereas Gagarskaya and Leontiev are heading to Eifman.