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About Fleurdelis

  • Birthday 10/16/1976

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, avid balletgoer
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  1. Phrygia is generally willowy and fragile. Sevenard is anything but that. That's why it is a curious choice. Maybe she will redefine this role, who's to say? Difficulties with lifts can be overcome with practice and experience. I recently saw the video of the Royal's A Winter's Tale. Looking forward to it premiering at the Bolshoi this coming April. Will be the definitive head-to-head comparison of whether Royal's principals are really all that. I saw Sarah Lamb's Aurora, she is excellent, but in my view Bolshoi does it better. And Vishneva does it better too. I may not have the luxury of seeing 32 Bolshoi performances a year, but the pointing toes at the ceiling part is news to me. Zakharova does this a lot, but she indeed has a unique stretch. Marchenkova did a bit of it during the recent broadcast. But that's all I could think of really.
  2. It means that being a one-trick pony is not a way to greatness. Dancing Nikiya the same way you dance Kitri is not greatness. Kondratieva danced many varied roles. Giselle and the Mistress of the Copper Mountain are very different roles. Range is more than just bravura or non-bravura. I'd be happy to discuss Kovaleva and Kretova on their own threads, or I'll digress too much.
  3. Highly arguably. Natalia Osipova aside. But then she is an ex-Bolshoi product.
  4. Lucky Londoners will get to see Denisova's debut as Phrygia. I have a feeling she will be amazing. Curious choice by Sevenard, would have been a much better Aegina.
  5. I actually see Olga as a throwback to the styles of Pavlova, Ulanova and a bit of Kondratieva, in many of her parts she has a similar otherworldly, ethereal quality. And then you see her Carmen, and she is completely different. Incredible range. To me this is what distinguishes a good ballerina from a great one - range. Vishneva, Guillem, Makarova, Bussel among others had it. I hope Alena develops hers too. Why not be delighted by youthfullness and freshness one day, and be moved by dramatic talent the next one?
  6. I am not aware of Alena switching her tutor or working with anyone else besides Chenchikova, aside from foreign ballet masters who come to set up imported pieces, such as Jewels, Artifact Suite or Etudes. But I have not seen enough of Kovaleva lately to comment on her progress, the ticket pricing policies of the Bolshoi are curtailing my usual theater-going habits, so I do not get to see as much as I used to. More than development of flow, I am hoping to see how much substance Alena has been adding to her roles.
  7. The insight is that it is very common for dancers to switch their tutors at the Bolshoi. Smirnova went from Kondratieva to Allash, who, by the way, was a wonderful Aegina in Spartacus, so it was very timely given that Smirnova debuted as Aegina a week ago. Stepanova has recently left Lyudmila Semenyaka for Kondratieva. And Daria Khokhlova left Nina Semizorova to go back to working with Lyudmila Semenyaka, who was her first tutor at the Bolshoi. Evgenia Obraztsova prepared her first Don Quixote at the Bolshoi with Lyudmila Semenyaka, then switched to Svetlana Adyrkhaeva and is currently with Nadezhda Gracheva. Shipulina went from Kondratieva to Golikova (who passed away) to Nikonov and now to Gracheva. Nikulina started out under Maximova, then went to Semizorova, then to Semenyaka and is now with Chenchikova. Only Zakharova stayed with Semenyaka throughout her career at the Bolshoi (and it shows). Also Adyrkhaeva's ballerinas tend to stick with her. I will not get into the men.
  8. It would be really great to have Bolshoi cast a black dancer as Spartacus on its next US tour. It would add a new connotation to the plot and make Americans see it as an eternal hymn to freedom, rather than condescendingly dismiss it as "communist propaganda". Carlos Acosta was the most amazing Spartacus I ever saw. I am so glad that his performance will live eternal as among the definitive ones, having been recorded and released on DVD.
  9. She already is one and has been for some time. A true jewel with some of the most beautiful arms and hands in classical ballet. Probably equaled only by Lopatkina. That is, to those who know a thing or two about classical ballet. Starting with the great upkeepers of the tradition such as Pierre Lacotte himself.
  10. The Gamzatti debut sounds very enticing. She is one of my favorite characters. And to see a rising young star in this role may be too good of a chance to pass. Looks like it is time to splash some of my savings on a London adventure.
  11. It is unfortunate that because of ROH's tougher policies towards videotaping of performances their wonderful young dancers do not get as much international exposure through the Internet as many of their mostly Russian counterparts of whom there are lots of videos on YT. I am so curious to see Naghdi or Hayward, but will have to go all the way to London, or hope and wait for a guest stint in NY.
  12. If one prefers a more lavish, ostentatious, Moscow-style production, then, yes, it was an absolutely smashing spectacle. The old graduations, the filmings of which can still be traced on the Internet, may not have been as richly produced, but were prominent for the quality of the performances that possessed that unique pure, chilly, ethereal and flowing (like the Neva River itself) mystique that is so unmistakeably St. Petersburg. Whatever St. Petersburg style and amazing graduates that Vaganova still produces is entirely thanks to a few dedicated teachers, who are persevering on and staying true to their teaching methods and tastes.
  13. Getting back to Shipulina and Vaziev. Shipulina has been the Bolshoi's best Gamzatti and among its three best Aeginas in the last fifteen years or more, she was among the original five most accomplished Moscow Academy ballerinas chosen for the Cinque program by Bigonzetti (alongside Krysanova, Semionova, Kochetkova and Osipova), she completely stole the show as Ondine in Possokhov's Hero of Our Time, overshadowing Zakharova's Princess Mary, a more prominent character of Lermontov's novel. Moreover, if we are to esteem the opinions of choreographes and ballet scholars with knowledge of 19th century ballet, then look no further than Pierre Lacotte, who selected Shipulina for the lead role in the upcoming revival of his and Petipa's Pharaon's Daughter at the Bolshoi. I don't think Lacotte really cares about who may be Putin's friend, but he is very discerning about who dances his ballets, so this is a most compelling recognition of Shipulina's undoubted merit and accomplishments. Everything Shipulina has achieved is thanks to her talent and hard work, not marriage to Matsuev. On the other hand, it should shield her from being pushed into retirement before she is ready to retire herself.
  14. Plato may not be my friend, sed magis amica veritas. In the article under the link below, a prominent Russian conductor Roudin also complains that it is notoriously well-known that the Mariinsky theater library does not give anything to anyone. Can't tell whether it is because of Gergiev's supposed malicious whim, or simply a reasonable precaution to protect the library's collection of rare and fragile antique sheet music. In any case, it was also publicized that the library recently acquired a scanner to convert its collection to digital format and make it easy to access. https://www.kommersant.ru/doc/2310500
  15. This is wonderful news, obviously an impressive achievement. I can't wait to see her on the Bolshoi Ballet TV show, I'm dying to know what she is about.
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