Fleurdelis

Okay, I took your original comment as referring to racial diversity. If this is not what you meant, then I apologize. Still then, I do not understand what type of diversity do you find lacking?

3 minutes ago, nanushka said:

 

Like that whole serfdom thing, for instance.

Yes, absolutely true, Russians enslaving other Russians. I am sure quite a few, if not most of Bolshoi's cast are descendants of serfs. Does this satisfy your diversity requirements?

8 minutes ago, aurora said:

 

One of the reasons for diversity in the US is our horrible history of slavery, but it is certainly NOT the only one.

The fact that the US was a beacon of hope for people fleeing things like the pogroms in Russia --meant to eradicate minority groups like the Jews who fled Russia FOR the US is a much nicer reason for diversity in the US and, ahem, lack of diversity in Russia.

 

So yeah, they didn't enslave people but perhaps we can not glorify a place with their own unpleasant past and racist present.

I am Jewish from Russia myself. So, I can tell you quite a bit about the unpleasant past and the present, but this would be way too off-topic for this forum and will have nothing to do with the ethnic makeup of the Bolshoi's ballet company.

I gave you the reason why. What would you have liked to see? More redheads?

12 hours ago, nanushka said:

Their idea of diversity is apparently a lone redhead in the front row.

 

The explanation is quite simple, it is because Russia never enslaved people of other races by the millions, so the ethnic makeup of the country reflects this.

Some bits and pieces from the hoopla surrounding the cancelled premiere of Nureyev at the Bolshoi, coming from people close to the situation in Moscow:

- The most "objectionable" bits in the ballet were:

i) a jumbo-sized photograph by Richard Avedon of Nureyev naked with genitalia on full display as a prominent feature of the stage decoration

ii) the performer of Nureyev's role being asked to show his naked bosom bent over with butt cheeks spread out in the scene depicting the photo shoot where the aforementioned photograph was made. Ovcharenko refused to perform naked, was allowed to wear a body-colored loincloth instead, but was also relegated to the second cast in favor of the less shy Lantratov

iii) a scene at the Bois de Boulogne in Paris showing a march of transvestites: men on high heels wearing colorful clothes

iv) earlier allegations of plastic dildos having been purchased for the production have not been confirmed by those who witnessed the dress rehearsals

- A newspaper article alleges that as much as $400,000 out of the production's total budget of $2,500,000 has been paid to secure the rights to use Avedon's photograph for the ballet, a staggering sum by Russian standards and in light of the modest financial means of ballet companies and modest salaries of ballet dancers around the world

- Zakharova was asked to feature in one scene of the ballet entitled A Letter: Diva, but after visiting the first rehearsal decided to pull out. Diva supposedly stands for Natalia Makarova, with whom Nureyev exchanged letters, and who herself did not allow her name to be used in this ballet. This character features the trademark handkerchief, but is more of an abstract figure than someone meant to closely replicate Makarova. The online recording of Ekaterina Shipulina is most likely of her performing that scene

- It is true that the preparation and rehearsals process for the ballet has been fraught with chaos and uncertainty, and a week before the scheduled premiere many questioned whether it would be ready to show on time. However, there were several other factors that contributed to the chaos. Originally, the ballet was scheduled to premier in the 2017/18 season, giving Possokhov & Co. ample time. Instead, Bolshoi's big premiere for this year was the new Anna Karenina by John Neumeier, a co-production with the Hamburg and the Canada ballet companies. However, this Karenina faced delays of its own, and Bolshoi's head of planning Irina Chernomurova (director Vladimir Urin's wife), being a great friend of Neumeier, decided to accommodate him and moved Karenina's Bolshoi premiere into the next season, asking Possokhov to accelerate his work plan and get Nureyev ready for this summer. Along the way, to keep things even clearer for Neumeier, the Bolshoi decided to sacrifice the revival of La Phille du Pharaon, also originally considered for the 2017/18 season. So, poor planning by Bolshoi's leadership all around, which seems to be getting progressively worse

- The director of Nureyev, Kirill Serebrennikov, is a prominent Russian theater director known for his stance in radical opposition to the current political regime in Russia, and for a highly provocative style, with theater productions featuring profanity, nudity and difficult, uncomfortable themes. He has recently been implicated (though not charged) in a criminal investigation into allegation of state funds being misappropriated for a theater production that never took place, even though there is ample and clear evidence that this production was completed and staged, just not commercially successful

In a way, apart from the thinly veiled homophobia which seems to have been virtually elevated to official policy in Russia, there were multiple issues with the production of Nureyev, so, in a way, its cancellation/postponement was a result of multiple factors at once. In any case, this is a huge embarrassment for the Bolshoi's top administration and planning department, and a very poorly timed public relations disaster, given the company's upcoming New York appearances. Hope that Mr. Vaziev is busy prepping his dancers to be on top of their games for these performances, to redeem not only Bolshoi's venerable brand, but also Russia's standing in the eyes of the world.

On 1/24/2017 at 8:35 PM, ABT Fan said:

Hallberg has now been cast in Whipped Cream on May 22.

 

In Onegin opposite Hee Seo on June 21 and June 24.

 

And, in Souvenir on July 3 and 8, and Mozartiana on July 5, 6.

 

Murphy's Giselle on May 27 is still TBA.

 

http://www.abt.org/calendar.aspx?startdate=5/1/2017

Hallberg is such a riveting Onegin and Albrecht! Please let it be him!

Thoroughly enjoyed the performance, though it had both its strong points and flaws.

Production: Great lavish set and costumes, really what classical ballet should be, to dazzle with splendor and elegance. However, the floor was an abomination, both visually and because of the screeching it produced. I recall the screeching being a serious issue when this production first premiered in 2011. You'd think 5 years would have been enough for the theater's management to do something about it, like getting a non-screechy floor, but no. So they have spent a fortune on all the glitzy decorations, yet ruined everything by not picking the right floor material. Hello? Also, without the staircase, Aurora's entrance is just not the same. And the fact that Carabosse walks off the stage in a cloud of smoke, rather than disappear through the floor is downright lame.

Choreography: Generally a solid and respectful updating of Petipa by Grigorovich, everything in its place, except for the horribly compressed and rushed ending.

Main characters:

I am a great fan of Hallberg, who I thought was phenomenal in earlier recordings of this production that I saw. But I must admit, Chudin was very much his equal, perhaps even stronger technically, though maybe not as expressive artistically as Desire.

I am also a great fan of Olga Smirnova, and she surprised me here once again, bringing out an unexpected depth in the character of Aurora. The narrative line of an innocent, slightly mischievous, a tad shy and naive girl maturing into a young woman ready for love was delivered by her perfectly and convincingly. She really stood out with a lightness of movement, elegance, refinement and elan. She was the very embodiment of the Grand Siecle, the glorious era to which we owe the birth classical ballet, and she reflect that glory at its finest. She also added an element of drama to the performance, transforming it into more than a pretty, lighthearted, fairy-tale ballet, the scene with the spindle where Aurora goes dizzy and gets weaker and weaker before passing out into her century-long slumber is played to quite a serious tragic effect, which gave me the chills. By comparison, Zakharova in the earlier recording displayed flawless movements, beautiful lines, fantastic extensions in her jumps, but did not seem to bother playing the role of Aurora, instead leaving us to admire her for what she was: Svetlana Zakharova.

I have heard a lot of great things about Yulia Stepanova. Frankly speaking, I don't think picking her as Lilac Fairy for this performance was the most successful move. Being a ballerina of a larger, stronger build, she would have looked more in place next to someone like Maria Alexandrova than the fragile waif-like Smirnova. Here, Stepanova's presence is better described as towering, she was immutable like a marble rock, rather than radiant, tender and caring, like, in my opinion, Lilac should be. Stepanova seemed to focus more on displaying correct technique than living through her role. To me, Bolshoi's best Lilacs are still Maria Allash and Olga Smirnova herself in her early years. But Yulia is undoubtedly very beautiful, she reminds be a bit of Annette Bening from the Columbia Pictures logo.

Carabosse: somehow not evil enough. Catalabutte: funny, expressive, with excellent mime technique

I was a bit disappointed with the other fairies and the fairy tale characters. While generally competent, the second line of Bolshoi's soloists did not produce any breakout performances, the only one that made me pay attention was the Fairy of Kindness Candide, who then reappered as Cinderella, very lovely and touching. And the corps, while highly synchronized, could have shown more joy and vitality.

But overall a highly satisfying and aesthetically pleasing performance, made me happy to know that there are such beautiful things in life. Would certainly be watching it repeatedly.

A few excerpts from the performance of La Belle. Olga absolutely gorgeous.

On 03.01.2017 at 8:24 PM, abatt said:

I think adding Hallberg to the lineup of the 3 company presentation of Jewels this summer would not be beneficial.  The whole point of having POB, Bolshoi and NYCB perform is to show the Balanchine diaspora to companies of varying style and backgrounds.  As an American who received most of his training in the US, Hallberg's appearance with the Bolshoi would not illuminate Russian training and sensibilities the way that someone who actually trained in Russia and has danced their entire career in Russia.

This is most certainly true, although he could probably fit right in with all three of the companies' presentations. But there are plenty of other roles where he can better showcase his superb talent.

Calvin should be a prince, not a sneaky villain. Siegfried would have been a much more natural fit for him. Hope it happens someday.

And an amazing rehearsal video to go with it

http://www.balletsdemontecarlo.com/fr/actualites/invites-prestigieux-belle

So amazing to see Olga Smirnova break new ground in Maillot's innovative staging of the Sleeping Beauty. She is showing tremendous range for a classical ballerina in the Vaganova mold.

On 12/16/2016 at 3:54 PM, Arizona Native said:

I was fortunate enough to be in the audience for tonight's performance.  It is a charming, energetic, and beautiful production.  David Hallberg displayed his characteristic immersion and depth, regarding character. There isn't a moment he is anything but fully present as Franz.  The Australian Ballet rose fully to the challenge, showing their classical chops. The orchestra was divine.  A lovely, lovely evening in one of the world's great theaters.  And the best part? Seeing David Hallberg so full of joy.  Wishing him all the best.

How does he look physically? Full strength, with all traces of injury fully behind him? Is he soaring again in those dreamlike jetes?

Fantastic season's schedule at the ABT. Really excited about  SOUVENIR D’UN LIEU CHER . Was never much into Ratmansky, but now he has be enthralled.

On David Hallberg, let me rephrase, let me just say that I hope that one year's rehab in Australia will have done him a lot more good than his previous long and ultimately unsuccessful rehab stints in another big country. We will find out very soon on Tuesday, really looking forward to good news and his ultimate return to the ABT!

On 9/7/2016 at 3:48 PM, balletforme said:

I agree that it seems a strange content.  .. I am kind of new to ballet but why would Bolshoi come to NYC and do a signature Balanchine piece?

'Cause the Bolshoi does it better.

And when they bring their signature pieces over here, they universally get panned. Just go back and read comments on Spartacus, Swan Lake, etc. from their previous visits.

Less thank a week left! Soo excited!

They probably removed the references to Ana in the article because they could not spell her last name. ?

Good interview. What stood out to me was Vaziev's continuing support of reconstructed classics. (YIPEE CA-YEY!) He mentioned wanting to welcome Ratmansky back to Moscow, specifically to present reconstructions. Vaziev championed and commissioned historical ballets by both Vikharev and Ratmansky, at the Mariinsky & La Scala, so no real surprise in the statement. However, it's surprising that he would state this at the Bolshoi, where Grigorovich's productions of the classics reign supreme, as they have for 50+ years. [The Bolshoi's reconstructed classics are those that were staged in the late 90s through 2011, ie, Pharaoh's Daughter, Corsaire, Esmeralda, Coppelia and Paquita Grand Pas...the period when Grigorovich wasn't calling the shots as loudly.] Maybe next season's emphasis on Grigorovich is a clever way to turn the page - give him a huge Festival, then slowly begin to replace his classics with the reconstructions? Keep Spartacus and change the rest, after 2017?

In my opinion, that would be a nightmare. As you mention, the Bolshoi has a lot of reconstructions of its own already, I would be quite happy if it just brought back Pharaoh's Daughter and maybe Esmeralda. To me Ratmansky's reconstructions are oddities to be seen once to satisfy one's curiosity, but as regular fixtures in the repertoire they would be unbearably boring and dull the brilliance of the incredibly talented constellation of the Bolshoi's dancers.

It appears that the article has been edited to remove the quote from Ana Turishvili, described as "first soloist", which I'm sure I read in an earlier version.

The photograph in the article is also of Anna Tikhomirova, properly captioned.

And, please, it is Turazashvili, not Turashvili or Turishvili.

Interesting article in DW online in which Vaziev, Denis Rodkin and Ana Turashvili are quoted on recent changes in the company. http://www.dw.com/en/the-bolshoi-ballet-moving-on-from-scandal/a-19335609. Rodkin and Turashvili seem to like the direction the company is going under Vaziev: better discipline, more opportunities for dancers to demonstrate their readiness for new roles. Certainly we've seen the latter in recent castings.

One question: Turashvili is listed on the company website as a soloist, but in this article (and another I saw somewhere else that I can't remember) as a FIRST soloist. I wonder if this is just a translation issue or if Ana has actually been (or is soon to be) promoted? Bolshoi promotions are usually announced in July, but perhaps some are known already?

Perhaps she has been promoted! But the article also says Filin has left the Bolshoi theater which I believe is not true (unless something has changed in the last week or so, he is there working with new choreography/choreographers)...so I'm not sure one can count on the article being accurate in fine details whether the problem is translation or just a journalist's sloppiness.

I think it is a bit simpler than that: the article talks about Anna Tikhomirova, who is indeed a first soloist. Ana Turazashvili is still a soloist. Though maybe she will be promoted this summer, who knows. But to do that Mr. Vaziev would have to clear out some dancers at the higher up levels to free up the requisite wage-rate headcount slots.

Unfortunately, yet another sign that in Russia it is brute force that ultimately carries the day, and the artistic world is no exception.

Unfortunately, yet another sign that in Russia it is brute force that ultimately carries the day, and the artistic world is no exception.

Monday night's ABT gala started with the uplifting sight of an elegant audience, with the gentlemen in sharp tuxedos and the ladies in glittering evening gowns - I did not know that American's have such an interesting tradition of celebrating Monday evenings by going to a theater in style, but think it is a great one.

The opening featuring a scene from Sylvia disappointed once again, the ladies in the corps looked slack, out of rhythm and tentative - it felt like dancing this piece was an arduous and unpleasant task for them. And Kochetkova's presence did not lift things up. The scene from Sleeping Beauty was puzzling - perhaps one needs to see the full length ballet to understand why Aurora looked so solemn and forlorn, as if channeling her inner Odette. I guess there she is but an apparition shown to the prince by the Lilac Fairy, and she longs for her prince in her slumber, but I thought a more joyful subdued anticipation of a young girl dreaming of love would have been more logical here. Cory Stearns with his dreamy good looks would have been the quintessential prince Charming had it not been for the drab redcoat uniform in which he was dressed up.

La Fille Mal Guardee was light and enjoyable, whatever Boylston may have lacked in gracefulness, she more than made up for it with cheer and charm, Cirio was a diligent supporting character to his partner.

Apart from the beautiful Faure music and pleasant aesthetic, Requiem did not leave a lasting impression. I understand that Ferri is somewhat of a legendary figure here, and she has beautiful feet, but I did not fall under a spell from her artistry.

This was followed by bows by all artists that appeared so far, an obvious misfire by the gala's director, as it was both unexpected and illogical, at first it looked that Masha was inadvertently wandering onstage as the curtains were going up and surprised at being presented a bouquet of flowers. Having the artists bow and receive their flowers after each of their respective performance would have been a better decision.

For me, Symposium was nothing short of a revelation, so seamless, organic and exciting was its fusion of the music, the costumes and the outstanding bodily expressiveness of the dancers. It had incredible speed, exhilarating leaps and turns, intricate combinations, and above all, a pervading beauty throughout, the same pure all-conquering beauty that was so glorified and worshiped by Socrates and his followers. This was one of the most incredible displays of male dancing that I remember seeing, and it will never look the same to me again. it is a real pity that I will not have a chance to see it several times again, to more consciously grasp the numerous messages and meanings pervading this work and to relate it to Plato's treatise.

Overall, I came to the performance yesterday thinking that Ratmansky was talented, but overhyped, his choreography often not showing enough creativity and imagination, and his scene settings and dramatic development sometimes too straightforward and sagging, rescued only by his knack for slapstick. Yesterday, I realized how completely wrong I had been, and what a visionary he truly is when afforded the proper time and the proper artistic talent to create his works.

I also liked his Firebird, its somewhat unusual psycho-industrial aesthetic surprisingly fitting the story. And his style fits ABT's talents like a glove - here the female corps were comfortable, convincing and fully in their element in the grotesque comical acting and dancing style of the green maidens. Copeland demonstrated a very compelling well-prepared part of the Firebird, with crisp dashes and a fiery quiver that did full justice to this part's name. I was infatuated by Abrera, her crystalline slender physique and a fragile graciousness. How come such a marvel has inhabited the company unseen for so long? Yesterday's was an ungrateful role for a ballerina of her composition, but I would think she must be an incredible Giselle or Odette, am I guessing right? Gomes was a hilarious Ivan the Fool, and Stearns once again made my breath stop with only his ominous, yet seductive stare.

Overall, whatever disappointments I had after last week's Sylvia, they were more than fully redeemed by the Monday gala. And thus concludes this little bit on ABT by an untainted eye that has not seen much of it.

In the 2005 RB video no one claps in the middle of the pizzicato. And, it is true, this ballet there looks a lot better than what I saw on Friday.