MadameP

Just wanted to thank you, Gnossie, for putting the Markitenka (La Vivandiere) video on this thread. Vikharev was such a great dancer, and so much to be admired for all his work on reconstructions of ballets, coaching, teaching, and of course as a dancer - so much... but for me, when I think of him dancing, it is in this piece that I remember him the most. I have watched it on video so many times over the years, since I also love Pankova. I love both of them in this piece. Thank you...

Nothing concrete, but I was in St Petersburg a short while ago and revisited both Peterhof and Tsarskoe Selo palaces and Tsarskoe Selo /Pushkin (also known as Catherine Palace) had an exhibition of the costumes from this film, as well as many beautiful stills from it. The film is called Mathilde. The costumes and hats were sumptuous and the photographs and videos also beautiful. But interesting that they did not choose a Mariinsky or Bolshoi dancer for the dancing parts, although they did use the actual Mariinsky stage and yes, there is dance content, since they showed a short video clip with ballerina dancing, but I don't know how much there will be in the entire film. Looks very spectacular anyway as obviously it has beautiful locations, being filmed in Tsarskoe Selo and other locations in and around St Petersburg!

Such sad news.

A few days ago I saw two performances of A Legend of Love on the historic Bolshoi stage. The matinee performance on Saturday, 20th May was the debut of Yulia Stepanova in the role of Mekhmene Banu with Alexander Volchkov as Ferkhad and Anastasia Stashkevich as Shyrin. The evening performance the following evening was Maria Alexandrova as Mekhmene Banu with Vladimir Lantratov as Ferkhad and Evgenia Obraztsova as Shyrin. I already wrote about Yulia Stepanova's debut on the Yulia Stepanova thread in the dancers' section, so I will just write about Alexandrova's performance here. I will try to post the link to the Stepanova performance underneath. The two Queen Mekhmene Banu performances were very different. Yulia Stepanova was much more feminine. Alexandrova certainly commands the stage as the Queen as she has great presence and her Queen has immense attack and power. She is clearly a "Bolshoi" ballerina with that energy and drive but for me, it comes over as a little too hard. Technically though, she was excellent, but she does not have very beautiful lines, having comparatively short legs, and certainly not the wonderful arms and upper body that Stepanova has. I also I did not see the variety of expressions that I saw in the Stepanova performance. Vladimir Lantratov as Ferkhad was superb. What a great actor he is. I was watching with my binoculars, and his range of expressions is amazing and his jumps showed beautiful line. Where he also was great was in all the pas de deux work - so difficult in this ballet with its numerous convoluted and acrobatic lifts, requiring strength and timing. This was most noticeable in the final act pas de deux with Alexandrova/Queen, which was superb. Volchkov did not show nearly the same ease of partnering with Yullia Stepanova, but I think that was to be expected as it was a debut: Alexandrova and Lantratov are regular partners and it really showed in this pas de deux. The difficult upside down"candle" lift where Alexandrova then goes into the upside down splits position was outstanding and so were the other lifts. The expressions of both of them were outstanding - Alexandrova yearning and sensual - and the chemistry between them was palpable. This was their best section of the ballet. In the role of Shyrin, Evgenia Obraztsova was sweet and graceful, but although she is one of my favourite dancers, I have to say that technically Anastasia Stashkevich the day before was superior to her. Obraztsova's jumping did not have the same lightness and ease, and she just seemed heavier in all her movements, although there were certainly no flaws in a technically good performance. However, Obraztsova's expressions and command of the stage were superb and I loved her frolicsome pas de deux with Ferkhad. Lantratov was excellent with both ballerinas! The corps and minor soloists once again were superb in all their stylised group work. This is a great dramatic Grigorovich ballet and I saw two powerful performances!

Yulia Stepanova had a great success today in her debut as Mekhmene Banu in A Legend of Love at the historic Bolshoi Theatre. Her Queen was elegant, showing beautiful lines in the many sculptural poses and lifts, but also strong and regal. Her hands and arms in all the oriental gestures were expressive, and accenting the music with dynamism where needed. This was a STRONG performance indeed, but also a Queen of subtle emotion, giving a real sense of tragedy at the loss of her beauty in exchange for her sister's life. Her monologue especially was SO moving - full of turmoil - and her expressions throughout were wonderful. I don't know how she managed to portray such emotion even while wearing a veil - but she did! Technically she was flawless, with fast turns, and she was especially strong in the sequence of swift fouettes, ending with a triple. Great performance, and the audience called her back for numerous curtain calls. Her Ferkhad was Alexander Volchkov, who managed the difficult candle lift and the other acrobatic lifts that the choreography contains and acted well also. Anastasia Stashkevich was charming as Shyrin with her fluttering hands, and especially thrilling grands jetes in the sequences of jetes synchronised with Ferkhad. She was graceful, light, gentle and I thought she was a perfect foil for Yulia Stepanova. This ballet is so striking and effective in the simplicity of its designs on the huge Bolshoi stage. There are four braziers on stage and a number of chandeliers hanging down that change colour and also a series of small raised backdrops that come down onto the back centre of the stage like a triptych style book that opens (difficult to describe) - but that is all. All the effects are in the emotions of the dancers, the power of the choreography, the lighting and in the ranks of dancers who pour onto the stage, often in stylised formulation. I was absolutely spellbound by it. What a great ballet. It has the real feeling of a strange oriental fairytale, but a tragic one. A great success for Yulia Stepanova and for the whole company.

OK, true, Mariinsky management decided to inflict these ballets on Mariinsky Ballet I still don't like them, and think they could have made far better choices.

Yes, we need to keep Ratmansky busy, if only to prevent him from inflicting another Little Humpbacked Horse, Anna Karenina or Cinderella on Mariinsky Ballet...

That is interesting what Sarah Lamb said. I see plastique as the using of the body to form shapes and lines and a way of moving particular to a choreographer's needs and also as interpreting the music. For me, that is why I rate Andrei Arseniev, currently still only in Mariinsky corps, so highly. I never saw a boy with his innate "rightness" of movement and line - it's SO DIFFICULT to put into words! - but he can use his body in so many ways, and they always seem perfect for the choreography and its dramatic truth. I think the dancers who have this instinctive amazing sense for plastique are born with it - it's a great gift and one that allies natural technical ability, intelligence, musicality, innate understanding of of the intention of the choreography.

Buddy, I was smiling nicely at your posts, and that's because yes, you have been writing a lot about Smirnova, but, as Natalia says, it is good to see positive comments and enthusiasm about a dancer you clearly love. I also think Smirnova is a wonderful ballerina, and Uliana Lopatkina too, but I am afraid I just HAVE to pipe up here and say, that where our agreement must end is on the subject of the "other" O.S. who you just mentioned in connection with Smirnova, and who I do not consider worthy of tying the ballet shoes of Smirnova and Lopatkina, let alone being in the same realm of excellence! I think she is AWFUL. It was BURNING and I had to say it! and I do not want to start a trashing thread - but well, there it is! But Smirnova and Lopatkina - yes, love them both!

Yes, using Paypal to contribute to Karina's fund is quick, very easy, and every single amount of money sent, no matter how small, may make a difference. And thank you also to mira for extracting Karina's account details from the instagram and video messages, and making them more accessible.

Video link for a youtube video by russianballetvideos2, which gives a simplified translation of the text of the message which many ballerinas have displayed on their instagram pages.

Karina's condition has unfortunately worsened, and she has had a severe relapse, with the return of her cancer. Many dancers have posted instagram messages, asking for help with links to various sites where anyone can make a donation. Please anyone who can help by financial assistance, please do so, and please pray for her also. I will link below both one of the instagrams showing the message, which is in Russian, and then below that, a link to a YouTube video by russianballetvideos2, which gives a simplified translation of the message. Thank you everyone.

I agree with that - 5'6" is what I thought - a few inches taller than me, but no more! And as for Lopatkina being 6'1". This must be a joke! She certainly isn't. She might be 5'9", but she is shorter than both Kondaurova and Iosifidi. Iosifidi is just under 6 ft - 1.82 cm - she could be a catwalk model at that height! https://www.ellines.com/en/achievements/508-the-ballerina-who-enchanted-russia/

Alina Somova does have exceptionally long legs but I don't think she is tall, from what I saw of her in class and rehearsal. I think it's very difficult to judge dancers' heights from their stage appearance, because the stage makes all appear fatter (in just the same way television or photographs do,) the dancers are constantly moving, and also performing on a raked stage which means that dancers in other parts of the stage might "appear" smaller or taller relatively depending on where they are standing on the stage. Also, even in real life, physique makes some look taller than they actually are. The long arms and legs that many/most dancers have, make them look taller than they actually are, giving them those endless beautiful lines that all strive for. Proportions make some dancers look shorter or taller. In their everyday clothes, many wear heels. It's difficult to judge. Tallest ballerina who I know of at the Mariinsky Theatre is Alexandra Iosifidi, who is nearly 6 feet tall. Smallest probably is tiny new recruit Anna Smirnova, who at well under 5 feet small, is very talented and recently danced Amor in Don Quixote.

Alina Somova is on maternity leave at the moment - that's why she has not been performing.

OMG! Now I am the Official Buddy Starter Mechanism? There must be a name for that? Maybe I won't go there! Seriously, yes, it is difficult to stop talking about something one has enjoyed so much, so on this occasion, Buddy, I will allow my name to be taken in vain! I enjoyed the Mariinsky Festival very much also! Incidentally, Sofya and Renata are the really small ballerinas, both much shorter than the ballerinas you mentioned earlier! I like them both, too, but Kondaurova can put both of them in her pockets!

With regard to the heights of the ballerinas you mentioned, Buddy, yes, Yekaterina Kondaurova IS very tall - about 5'10", but Olga Smirnova certainly is not. I have stood next to all these ballerinas, and although I was not getting my tape measure out, Smirnova I would put at no more than 5'5". She does have very long, thin arms and legs though, which I think makes her look taller than she is. This also applies to Oxana Skorik, who appears taller than she actually is because of her exceptional thinness. Anastasia Kolegova though, could certainly never be called short - she's about 5'7", BUT for a ballerina she has comparatively short legs, which might make her appear shorter to you. Although I love her as a dancer, she doesn't actually have ideal proportions for a ballerina.

Ah ... now you're opening up a whole kettle of worms! Yes, of course one of the main differences between Bolshoi and Mariinsky is that the Bolshoi does go for the "big effect" at the expenses of correctness of technique and Vaziev himself has stated his desire to "refine" the Bolshoi style. Faster and higher is of course easier if one is not so particular about how one attains this! This is why I personally am a Mariinsky fan first and foremost, although I love Bolshoi ballet for its theatricality and exuberance and I agree with you, Drew! I actually love the difference there is between the two companies! With regard to Olga Smirnova, I know that I have seen videos of her work in class at Vaganova, and at her graduation performance, and both in live performance and on video since then, and yes, she is somewhat unusual in that she has flexibility, technique, elegance AND SPEED ... her final diagonale in the kingdom of the shades scene showed that very clearly!

Smirnova always had exceptional speed, even at Vaganova. It's one of her hallmarks.

If so, you have my deepest sympathy, since I have seen both them as Nikiya and "from the sublime to the ridiculous" about sums it up...

There are so many Spectres!!! I also think Vasiliev is horribly miscast as the rose - like a bull dressed as a rose in a china shop, and horribly sloppy and even falls off one of those attitude turns, but I quite like Kolb's interpretation! I agree Legris gives a beautiful interpretation - and he does the double en dedans arabesque into attitude into pirouettes sequence, and also does the double assembles en tournant both ways. He has beautiful arms also. I think Soloviev was severely hampered by that tiny stage space - he only does single assembles en tournant - although I think he did them both ways, but undoubtedly he could do doubles, but just not here. Like I said, just from his jumps, which clearly have nowhere to go, he was hampered. That space is ridiculous for this piece - like dancing in a cake tin. That is such a shame, because he of al dancers had that once in a lifetime unbelievable jump. I think his arms and fluidity do not compare with either Legris or Gudanov though. For me, my favourite Spectre is the one below, Dmitri Gudanov of Bolshoi. He has suppleness and fluidity of body and arms, beautiful lines, sensuality and expression. Amazing. He does double en dedans arabesque/attitude/pirouettes, but he does all his double assembles the same way - but they fabulous! Well, he is MY favourite, and yes, Cuban, I think he has the right "perfume" also! But no doubt this is going to be a long thread of personal favourite Spectres!!!

I just heard today that, although Karina's kidneys are much better now, she has had a relapse. I do not know exactly what this relapse is, but it does not sound good, and she need all our prayers and good wishes. I know that many people have been praying for her already but please everyone, carry on with your efforts. Please remember Karina in your prayers and thoughts.

Glad you enjoyed the gala, Buddy. Have a safe trip home!

Last review from me, as I am going home today and so will not see Jewels or the gala. Hope you enjoy them both, Buddy! DonQ was a mixed bag for me. It's funny how we all see things differently and so I will start with the bad stuff - that, for me, was the guest Basilio, Daniel Camargo. I had seen photos and was expecting him to be good, but I was very disappointed. Yes, he's a good looking boy, but his elevation was very poor. In the grand pas, in particular he was visibly petering out and running out of gas in the manege of barrel turns, but still attempted a (pitifully low) revoltade but you could actually SEE him struggling to launch himself. Not good. He did a good grande pirouette though, and his pirouettes in general were good. He just did not have good elevation, which I think Basilio needs. He played a good comedy death scene though. Renata Shakirova was excellent in the first act - nice diagonale of single pirouettes and good acting - she is a saucy and vivacious Kitri. In the dream scene, she was one of the very select number of ballerinas to be given the honour of dancing the extremely difficult "Dudinskaya" variation, instead of the usual one, and she pulled of the tricky sequence of alternating en dedans and en dehors pirouettes, double one way and single the other, very well. I only saw Ksenia Zhiganshina do this before, as a student, although she did not do it at the grad performance and Zhiganshina was actually better in the variation than the (To my knowledge), only other current Mariinsky ballerina to perform the variation, Viktoria Tereshkina. She also danced a lovely variation in the grand pas. Ekaterina Osmolkina was refined and elegant as the Queen of the Dryads with some beautifully floating grand jetes. It was a great shame though, that the Vaganova children were missing from the whole of the second act, as it seemed very truncated without them - no puppet show that sets Don Q off to tilt at the windmill, and no children in the dream scene. That was a real shame. For me, one of the highlights of the ballet was the amazing Espada of Ivan Oskorbin - as Buddy said, he was sensational in his back flexibility in the renverses, and also had fabulous cabrioles. He had really outstanding panache throughout - great performance. I wish he could have danced Andres in Paquita! Yulia Kobzar also was outstanding in her oriental/Egyptian dance on the carpet, with that amazing undulating body and arms - BEAUTIFUL arms. Overall - really enjoyable Don Q!