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MadameP

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Posts posted by MadameP


  1. I enjoyed Smirnova's performance.  I thought her reading of the character of Giselle was intelligent, full of detail and touching, and she displayed spontaneity in her interaction with other characters on stage.  Her technique is precise and her petit allegro in general was excellent.  Also, she certainly gave the impression of an insubstantial wili in the second act.  I loved Belyakov - a true danseur and such a worthy principal finally!  He has an excellent presence and that jump... the height of his entrechats is amazing!  His acting is heartfelt and sincere and he looks the aristocrat.  I thought Khokhlova in the peasant pas was delightful - so fleet and light in her footwork - and  her partner Alexei Putintsev had great ballon.  I have been very critical of other Ratmansky productions, but I really enjoyed this one.  I thought the whole of the second act was  beautiful indeed, and the choreography for the wilis very effective in giving the impression of an army of man-killers - especially in the scenes where they capture and dispatch Hans (Hilarion).   Ratmansky increased the petit allegro element of the choreography and also the amount of mime, which I found to be totally in keeping with this 19th century ballet, and there were many new and beautiful poses - the kneeling pose that replaced the high lift in the act 2 pd2 for example.  I thought Nelli Kobakhidzhe gave an extremely sympathetic performance as Bathilde and also Lyudmila Semenyaka as Berthe was entirely convincing and how wonderful to see her back on stage!  We can all argue about various elements we didn't like (and I did find some of the changes of tempo a little sudden) but overall I thought this production is a success.  Loved it!


  2. 16 hours ago, cubanmiamiboy said:

    The Spessivtzeva solo final diagonal is back in Russia!! Ratmansky has done a great job at paying homage to those few ballerinas and companies that kept it through the years. Alicia Alonso is dead now, and oh...she would had been so happy to see it danced outside Cuba. Spessiptzeva, Markova and Alonso must be celebrating up there. Bravo Ratmansky!! Brava Smirnova!!!♥️

    Agree.  Olga took that Spessivtseva diagonale at great speed, too!  Fabulous, wasn't it?!  

     


  3. 17 hours ago, Buddy said:

    "It is an amazing achievement," MadameP. 

     There are now videos of most of her performance. Having  just watched the complete Act I Duet, which for me at the Mariinsky is the essence, I think that she is remarkable and has a remarkable future ahead of her.

    The ability has probably always been there as her non-Mariinsky Giselle gala excerpt from about a half-year ago brought home to me. Now it's finally being featured.

    Hopefully this is just the beginning of an "amazing" future.

    Added: I wrote recently that of all the great performances that I've seen I'm still maybe waiting for the one that wins my heart. This may be the one.

     

    I wrote recently that of all the great performances that I've seen I'm still maybe waiting for the one that wins my heart. This may be the one.

    ____________________

     

    I agree!  I watched and it was really like seeing the ballet afresh!  Such a beautiful partnership, heartfelt acting, and for sheer beauty of lines, epaulement, artistry - it was a staggering achievement for this young ballerina.  I can't remember when I enjoyed a Swan Lake as much as this one!  Bravo indeed to both Ilyshkina and Korneev!


  4. Some really great news today - Maria Bulanova has been promoted to Second Soloist, bypassing the Coryphee rank!    She is a wonderful, dramatic ballerina with real presence on stage and acting ability!   I am so pleased for her, and hope to see her in many more roles now!  Congratulations!


  5. 3 hours ago, Alana Vashti said:

    Hello, I would like to know if anyone knows what the title of the music is by Franz Schubert at the Chanel 2019 Paris Opera's Opening Gala. The music was for the Ballet " Variations " and the costumes were by Chanel. There was a forum posted about the ballet on this website not long ago. I have searched everywhere for the title of the music. I have heard this beautiful piece of music somewhere before. Thank you,

    Alana

    Can you post a link to the ballet/piece?  


  6. He was a wonderful Hooligan when I saw him in the role  - technically brilliant, and truly rough around the edges in character, instead of being a bit too much like an Oliver Twist type as some are.  Truly poignant in his acting.   A very talented boy.  


  7. More superbly landed double tours here also... not to mention the ease, poise and control and beautiful lines in arabesque, and the series of entrechats 6 ...  quality...

     

     


  8. Agree he is wonderful.  I have seen him in many roles at Mikhailovsky.  It is a tragedy really that with his amazing talent, he is not a Mariinsky principal instead of Mikhailovsky.  He has beautiful lines, that cruising ease of movement, high jump, spectacular turns - EVERYthing.  He also has great charm and presence on stage.  I don't want to say he is wasted at the Mikhailovsky, because that would be to imply Mikhailovsky is not a good company, which it certainly is, but from Lebedev's own point of view, he has missed out on the worldwide exposure and opportunities that being a principal at Mariinsky would have brought him.   As it is, I can only say, yes, he's stunning.


  9. I have to say - I realised that some of it at least was not live - moving directly from Eleonora Sevenard's interview to the middle of her rehearsal with Rodkin, for example.   I did not realise that the whole Bolshoi segment is taped in advance.  It's  a great pity.


  10. 39 minutes ago, volcanohunter said:

    Perhaps, but reality is often more complex that we realize. For example, in his memoirs Valery Lagunov, another Bolshoi coach, described Akimov and Vladimir Nikonov as Party stooges.

    I do not have this book, so could you explain what exactly Valery Lagunov meant?  I remember a few years back watching several classes taken by Boris Akimov, and he was equally courteous to all dancers and spectators, and full of the most incredible vigour and enthusiasm for his work.  


  11. I love this production of Raymonda.  I think some of the effects for the corps, such as when we first see them grouped together, are particularly beautiful!  Belyakov was absolutely spectacular and I also thought Tsvirko was well cast.   I do like Olga Smirnova very much as a dancer, but she did seem extra cool to me in this video - it's a minor point, but I think a softer stage make up would make her look less severe.  


  12. 1 hour ago, Deflope said:

    Judging by world Ballet Day rehearsals, it looks like it will be Krysanova-Motta Soares, Ovcharenko-Denisova and Vinogradova-Podubnyak in the lead roles. 

    Olga Smirnova also said she is to be dancing, although she was not rehearsing because of having a light day before Raymonda...


  13. 7 hours ago, ksk04 said:

    I was at the opening night and will be at the two Kondaurova shows as well. Not a lot of time to express my thoughts fully right now, but I want to give huge credit to Svetlana Ivanova for leading the line of shades out, in what I imagine is, her 40s??? Without breaking an ounce of sweat or having a flagging arabesque. Wow. She was exquisitely poised (in the Bayadere divertissement in Act 2 as well)--definitely a different generation.

    So wonderful to hear how much Svetlana Ivanova is still appreciated!  I completely agree!  She is a wonderful ballerina, and I have many times seen her leading out the 32 shades.  She absolutely deserves this honour and responsibility.   Her adagio work is exquisite.


  14. I looked through my 2017 Paquita programme, which  was lavishly illustrated and had many interviews, and there was an interview with Yuri Burlaka about his staging of the grand pas.  He was specifically asked about the male variation, as follows:

    Petipa didn't include a male variation in his Grand pas, will you?

    I will, using the music by Drigo, once written for the ballet The Vestal Virgin featuring Enrico Cecchetti.  This particular variation was staged by Vladimir Ponomarev and shown to me by my teacher Pyotr Pestov who, in turn, learnt it from his teacher Nikolai Tarasov.  I already used this variation in one of Esmeralda productions, because extant male variations are quite scarce in the end.  The variation I used for the Bolshoi version of the Grand pas was created by Leonid Lavrovsky.  

     

     


  15. 21 hours ago, Roberta said:

    You're welcome, annaewgn! May was a standout...great in her lines/poses and adagio. She wasn't totally steady on pointe in all moments, as this is a legato variation, but I have the likes of Kunakova, Pavelenko and Kondaurova as earlier dancers who I saw shine in this variation. May is progressing nicely.

    I spent part of last night doing my homework on the provenance of the 2nd variation (the harp variation by Zabel, Le Corsaire), making corrections on my above post. We saw this in the Burlaka-Ratmansky 2007 Corsaire for the Bolshoi - danced by Gulnara within the "Pas des Eventails (Fans)" at the start of A3.

    Iliushkina is also fabulous in this variation.

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