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MadameP

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Posts posted by MadameP


  1. 1 hour ago, Drew said:

    It would never occur to me that Tsiskaridze wasn't "in command" so to speak or the person in charge; I just wondered a bit that no-one ever mentions Ayupova when she does have an important appointment at the school. I'm actually a little surprised to read that Vaganova doesn't get "all of her attention" -- or at least the lion's share -- given her position there...

    I do remember her as quite a wonderful ballerina...

    It's difficult for anyone to give anything their full attention when they have two separate roles/appointments in different establishments!  

    Hope we see Maria Khoreva in a principal role soon.  She is off to a good start!

     

     


  2. Although Zhanna Ayupova was a wonderful ballerina in her time and is also an excellent coach and teacher, she does NOT have ultimate responsibility for anything at Vaganova. In everything, the decision is Tsiskaridze's. Zhanna has a second position at Mikhailovsky Theatre, where she coaches a number of important dancers, including Angelina Vorontsova. She also travels a great deal, assisting with the mounting of various productions.  She simply doesn't have the time to give Vaganova all of her attention, neither does she have the contacts, or the strings to pull to get the repertoire that Tsiskaridze has managed to acquire for the Vaganova students.  She is very much a second in command to Tsiskaridze in every aspect of the Academy, despite her title. 


  3. 8 hours ago, Laurent said:

    Tereshkina observed every single accent, this alone is a rarity today; her exaggerated, ostentatious, manner, however, made her less appealing in my eyes than, for example, Khoreva, who was dancing one of the variations (said to be from the late 19th century ballet Gretna-Green (!?!) but, in reality, being the Dulcinea variation of Dudinskaya).

    I agree.  Actually, I wonder at much of Tereshkina's casting at MT.  For me, she is no Aurora or Giselle or Odette (Odile MAYbe) and no Raymonda.  The list goes on.  Technically she is strong, but she doesn't represent Vaganova style to me, and maybe that is because she was not wholly Vaganova trained.  I cannot remember now whether she had 4 or 5 years at Vaganova, but certainly not the full course.  I find her often, as you say, ostentatious, and I also find her hard,  She just doesn't have that somewhat rarified Vaganova refinement.   Khoreva DOES  in my opinion.   Very talented girl.


  4. 3 hours ago, Buddy said:

    I hope that you're right, MadameP, but I'm totally unconvinced.

     Canbelto, if what MadameP says is true than this picture appears much less offensive. But, considering the controversy surrounding this man and his ego I would not have have let such a picture be taken no matter what the intent.

    Again, I'd be glad to be proven wrong, in particular for the students' sake.

    Buddy - it's a REHEARSAL photograph!!!  That's all!


  5. Tsiskaridze oversees the whole of the running of Vaganova.  He coaches, teaches, rehearses, chooses repertory,is involved in the selection process of tis students and their examinations - he is involved in every aspect of Vaganova  The quality of its current crop of graduates is the direct result of this.  Bravo Tsiskaridze, I say!


  6. On 6/12/2018 at 11:38 PM, Laurent said:

    Disgraceful? Ridiculous? Two hours ago the best perhaps in recent memory graduation concert has ended. As a spectacle it was an equivalent of three shows at l'Opéra, Royal Ballet, or at any American company, with the exception of New York City Ballet. 

    I think Tsiskaridze is doing a magnificent job at Vaganova - not just in terns of the calibre of graduates produced, but also the quality of its productions.  His choice of repertoire alone for graduation performances is wonderful...  

    Maria Khoreva's Paquita variation -  what many know as the "alternative" Dulcinea variation or Dudinskaya variation ... outstanding graduate.  

     

     


  7. On 6/11/2018 at 8:35 PM, Gnossie said:

    Absolutely agree. 

    Osmolkina is the purest representer of the Vaganova style, and so is Obraztsova even if she is at the Bolshoi now, Ostreikovskaya although a Perm product, represents the Mariinskly style. The only Prima of the company that does represent the Vaganova style is Madame Pavlenko (her Saint Petersburg haters can go to hell, thanks all the best!)

    Among the men, Steppin is the only one to be considered Baranov's heir, a true prince.

    Yermakov is Ruzimatov's heir. 

    Sergeyev (should have been promoted 50 years ago) and Batalov (I'm crying right now) are also pure Vaganova style. 

    Gnossie -  Osmolkina and Filipp Stepin were the first to spring to my mind as being the purest representers of Mariinsky style, as I wrote originally.   Of course there are others.   I do agree about Obraztsova also, and also Ivanova mentioned above.  Ivanova is a WONDerful ballerina.  I love Novikova also.   I  Batalov was denied so much - disgusting.  Yermakov though ... to my mind, he cannot be compared with Ruzimatov.  Ruzi was one of a kind - a flamboyant original, which Ermakov is not.


  8. I think the link between Vaganova and Mariinsky is of the utmost importance.  Mariinsky needs to keep the purity of its style, and it needs its Vaganova graduates to do that. As for who is the bearer and keeper of the St Petersburg style ... Osmolkina?  Filipp Stepin among the men.  


  9. Margarita Shrayner was certainly a wonderful Sylphide - mercurial and vivacious, with light, high jumps and so very expressive.   She has lovely stage presence.  It is strange that, with so many solo and principal roles now, she is not at least at soloist level.  


  10. On 5/25/2018 at 10:01 AM, Gnossie said:

    Nagahisa and Caixeta (who did not study at Vaganova) to "represent" the Mariinsky at Bolshoi Ballet (tv show).

     

     

    No comments.  


     

    DISGRACEFUL!!!   Mariinsky represented by non Vaganova dancers?  Ridiculous.  


  11. 2 hours ago, cubanmiamiboy said:

    If that working legal didn't whip to every single count of music all the way to a perfect 32 in total synchronization, then I must be living in another dimension.😎

    Really?  They look completely out on my screen - unless the sound out of synch.    


  12. On 4/30/2018 at 7:51 AM, Laurent said:

    I don't think this video is an illustration of your thesis, I don't see a correlation between the constant speed of the fouettés and the pattern of the orchestral tempi. If anything, this is an illustration of a muscular, inelegant execution of this element. There is much more to the proper execution of the fouettés besides executing 32 of them without much travel.

    Completely agree.  These fouettes might be executed at a "constant speed" but look laborious and they are not in time with the music.


  13. 52 minutes ago, Buddy said:

    I guess my only response to that, Mnacenani, is this brief excerpt from the work that you saw at the Mariinsky ‘Festival’ in March. It’s the only ‘official’ release of a George Balanchine duet that I can find on the internet.

    Tiler Peck & Jared Angle in A Midsummer Night's Dream (excerpt) Divertissement pas de deux

     

    Added: 

    I also had a video that included George Balanchine coaching Mikhail Baryshnikov in the Prodigal Son. The emotion that he tried to convey was about as soulful as you can get.

     

    Buddy, your post made me smile!  Petipa ballets are closest to my heart, but Balanchine's ballets cannot be dismissed as being without soul.   I am not a Tiler Peck fan, so I will not comment on her, but the duet from A Midsummer Night's Dream from which you posted this extract really IS a true jewel.  It's the best of that ballet for me and truly beautiful, eloquent,  magical., and yes -  I do find it very spiritual.   I love it.   I have seen many Mariinsky dancers perform this exquisite pas de deux, and among the best were Ekaterina Osmolkina with FIlipp Stepin.   Nadezha Batoeva and Maria Shirinkina were also wonderful  in the pd2!  So beautiful! 


  14. 13 hours ago, Quinten said:

     

    Dreaminess may be one of the attributes of a Mariinsky ballerina, but it is not sufficient in and of itself.  Krysanova for all her virtues lacks the Vaganova epaulement that characterizes traditional Mariinsky dancers.  Many admire other Mariinsky dancers who also lack Vaganova epaulement (and there are more of them all the time), so it's not surprising there is some confusion about what a true Mariinsky dancer looks like.  

    Krysanova is FAR from being a Mariinsky or Vaganova trained ballerina.  She's Bolshoi through and through... 


  15. I have to say I saw both Legend and Romeo and Juliet, and I dislike extremely having different casting for each act.  The whole development of the characters throughout the course of the ballet is lost.  Yes, I understand it is an opportunity for many dancers to appear, but quite honestly, many would be better not appearing at all.  They would have been better off "paying their respects" by not dancing.  Askerov as Ferkhad?   Wooden in the extreme and cannot act.  Much as I like Evseeva, I think she is miscast as Shyrin.  The ballet itself would have been better served having Novikova and Tereshkina throughout.  As for Romeo and Juliet, Ivanchenko as Romeo  ... REALLY???  He should have retired long ago...   And Tereshkina is too knowing to be an tomboyish young Juliet.   Batoeva is a wonderful Juliet - but she wasn't chosen.  Of course,  Abdiev and Selyutsky were being honoured in these broadcasts, explaining some of the choices, but I think it made for dismal viewing...

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