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Everything posted by MadameP

  1. I have to agree. I had seen it on video and decided I would see it "live" once to give it a chance, on the basis that maybe video just did not do it justice. WRONG. I saw Batoeva "live" in this at Mariinsky and honestly, much as I love Nadia, I could not wait for it to be finished. At least the Mozart is wonderful though...
  2. Agree about that terrible Grigorovich fight scene - definitely too many jetes across the stage and the drama of the fight itself is completely lost. Also agree that Bayadere (I am another for whom it is my favourite ballet, although along with Shurale!) NEEDS that final act with the destruction of the temple etc, in order to have dramatic credibility.
  3. Vorontsova is indeed a wonderful fouette turner, and turning with both hands on hips is extremely difficult. Whether a dancer does singles, doubles or alternates them is often largely a matter of taste: fast, perfectly placed and centred singles are often the most dazzling. tasteful and effective. Personally, I think that "party tricks" when executing fouettes, including changes of arm position, jumps between fouette turns etc, are more appropriate for some ballets than others.
  4. So beautiful ... his lines, musicality ... everything!
  5. GNOSSIE, those clips are wonderful! How adorable, enchanting and joyful! And yes, what a great tribute to the Great Vikharev! If ONLY Mariinsky had this jewel in their repertoire right now - imagine Oksana Marchuk or Margarita Frolova as Lise! Mariinsky has many dancers who would be perfect for Lise and Colas. Tragic... but yes, what an achievement for Yekaterinburg!
  6. Nice step up in ranking for her!
  7. Marchenkova will still be shorter than the very tall Kovalyova, but I also think she was chosen as Gamzatti for this performance because she is nearer to Alyona in height. However, personally I do not like her as a dancer, and in particular, I think she has awful arms and hands.
  8. Agree Smirnova is fabulous Nikiya and certainly was so at last year's Festival.
  9. Deflope, I looked in my programme, and the following pieces are listed - music by Sergei Prokofiev (fragments from the film score for Ivan the Terrible, fragments from The Russian Overture, fragments from the cantata Alexander Nevsky, a fragment from the third symphony) musical version and additions by Mikhail Chulaki. Do not know which of those is in the Oprichniki scene though, except I think not the cantata.
  10. MadameP

    Yulia Stepanova

    Rodkin needs to star in a hairspray advert - perhaps that would get it all out of his system? !
  11. I read the review, and assume it was aimed at a general audience, since there is no technical evaluation in it whatsoever, apart from saying that Osmokina has great Vaganova technique!
  12. Too bad. She wasn't one of my favourites either, although I know many did like her and will be sad at this abrupt departure. With a company the size of Bolshoi, there will always be some who are not given the roles they deserve, or think they deserve, or are promised ... Good luck to Elvina in Bavaria.
  13. Buddy, the Astoria is wonderful - such a great location! Very nice to hear they are honouring your birthday! Happy Birthday to You! And - Tkachenko .. I doubt she ever will perform Odette/Odile at Mariinsky now so you were fortunate to see her! She's wonderful in many roles, but definitely not one of the current management favourites, unfortunately!
  14. Ah - So that is where it comes from originally? I did not know! Nevertheless, this music IS currently used for the Lilac Fairy's 3rd act variation in the Sergeyev version. The Gold Fairy doesn't get a variation in the Sergeyev SB.
  15. That music is the music used for Aurora's variation in the Dream act in both the Sergeyev Mariinsky production and the Bolshoi production. In the Vikharev reconstruction, Aurora's variation is the one Sergeyev used for the Lilac Fairy, so no, you did not hear that music for Aurora's variation.
  16. Yuri Fateyev's casting and ranking of the dancers in the company is really unacceptable - Oksana Skorik is a principal, yet Olesya Novikova, who is exquisite in every role she dances, and was wonderful in the Vikharev reconstruction Sleeping Beauty, is STILL only a first soloist? Totally unacceptable.
  17. So funny that two members were sitting so close without realising! I saw Vorontsova/Zaitsev on 7th and Lebedev/Soboleva on 8th but posted my review in the wrong place and Helene has kindly moved it to this Mikhailovsky section. I LOVED Cinderella, and Lebedev is THE prince of princes! Here's the link to my review for anyone interested:
  18. Agreed - Tereshkina's epaulement was not to be compared with that of the "Vaganova" exiles. For me, she is not really an Aurora...
  19. I had to leave before the gala, but just some thoughts about the two Cinderellas I saw at Mikharilovsky. Anyway, they were part of my trip, and honestly, for fairy tales, the Mikhailovsky Cinderella and Mariinsky Sleeping Beauty are both just magical! I managed to attend two Cinderellas back to back at the Mikhailovsky Theatre. This ballet is a real triumph in every way for the company. The scene was set from the moment of entering the auditorium - the lights around the pretty apricot painted interior were set to flicker exactly as if it were candlelight and not electric light bulbs, and the crystal drops in the chandelier were glittering. The colours of the costumes, scenery and special effects are just gorgeous - soft pastels in many glowing colours and this production to me is the truest representation of the actual fairy tale that I ever saw. THe first cast was Angelina Vorontsova and Ivan Zaitsev, who often are paired. Angelina is such strong technician and a very pretty girl and had a good rapport with her partner. Everything is easy for her. Zaitsev is also a good technician, although truthfully I could not rank him at higher than Mariinsky 2nd soloist, if that. Although he jumps and turns well, he does not have great extensions in arabesque and also for me lacks a little elegance. He does have a nice princely presence though, The second performance I saw - the matinee the following day - was the married couple of Viktor Lebedev and Anastasia Sobeleva ,and was the better in my opinion. Viktor Lebedev is an amazing dancer - he could and should be Mariinsky principal since he was Vaganova trained . I can’t think of anyone else who has his blend of elegance and charm, and smoothness and ease of movement. His jumps are amazing - in particular, his opening grand jete flying across the diagonale of the stage, was spectacular. His turns are phenomenal, with both speed and precision and high up on demi pointe. I think I counted 8 at one point, but it is his control that is so exception. He has all the time in the world to finish off every pirouette perfectly. His lines also are beautiful - stretched legs and feet and just perfection in arabesque and exquisite attitude turns. Honestly, it is worth going to St Petersburg just to see him in this ballet. His wife, Anastasia Soboleva, is a slender, long-limbed dancer, dancing with lovely lyricism and with a touching, poignant quality as Cinderella. I loved her performance - actually I even preferred her Cinderella to Vorontsova’s - much as i love hers also. What to say about the special effects? …. they ARE very special. They truly add to the magic of the production. Some of the most beautiful are while the fairies of the seasons are dancing, first with pink blossoms to the rapid allegro work of the spring fairy, Veronica Ignatieva particularly good in the first performance - and then with swirling leaves and snow as the seasons progress. There are also what look like “real” fireworks but of course are just back projected - but how lovely they are. Cinderella’s sisters are portrayed not ridiculous and spiteful, but actually amusing - and Valeria Zapasnikova was especially quick footed and comical. The choreography is beautiful - the pas de deux for the prince and Cinderella containing some beautiful lifts set among a stage full of stars - just so pretty! The corps is also very well served with intricate lacework of ensemble work. For the second performance I was sitting higher up and this was especially evident. The final act contains some effective solos for an oriental snake dancer and a Spanish scene, and also some stunning virtuoso dancing for the prince - Lebedev’s chaines must be the fastest I have seen a male do! This production completely puts the horrible Mariinsky Cinderella production to SHAME! It is FABULOUS!
  20. Like Buddy I saw both nights of the reconstruction, and I thought the second night was better. Novikova to me is a far more natural Aurora than Tereshkina, and also, being coached by Vikharev', she should ,in my opinion, have danced the opening night! How wonderful she is in this choreography. Her Vaganova training shines and she is so accurate , precise, beautifully placed. Love her - she should have been principal long ago, and was far more deserving of the opening night than Tereshkina, in my opinion. She is a natural actress whose every performance is different. Technically she is superb. Askerov was far better suited to the costume (!), and jumping well in the 3rd act, and he is an excellent partner. Oksana Skorik was Lilac Fairy - and although I do not like her dancing, she was better than I had expected, although lacking the regality of Kondaurova, and still moving from pose to pose with little lyricism. In the soloist ranks, outstanding were Anastasia Nikitina - rarely seen recently but highly talented with a lovely jump and turns, , and the tall, elegant Maria Ilyuishina as one of Aurora's attendants - who surely deserves more roles. Valeria Martynyuk was sparkling as the Diamond Fairy, and has great speed and accuracy, but still Skorlikova'-Ivanova's entrechats had the edge in this role for me. Teeny tiny Anna Smirnova was adorable as Red Riding Hood, although I think Russkikh the night before had the edge for acting, and Xenia Ostreikovskaya puurfectly cast as the White Cat. and it was so adorable to hear children near to where I was sitting laughing at her variation! I am sorry to say that I consider the casting of May Nagahisa (Sp?) as Florine to be absurd, especially when compared with the exquisite Florine of Maria Shirinkina the night before. There are SO many older corps and coryphee and soloist girls who would have been a lot better. Florine should never be "cute" and also, Nagahisa has very stiff arms, where FLorine's should be soft and fluid. Bad casting, but not this young girl's fault. I actually loved the whole performance. What a privilege to have been able to see it There are so many differences between this Vikharev reconstruction and the Sergeyev version, that it would require many pages of notes to document them all. There are elements of both that I prefer. I do love the spectacle of the Vikharev reconstruction, and also I LOVE the fact that there is so much mime - beautiful and as in the current Mariinsky Swan Lake, I wish more of the mime passages were used. BUT ... I prefer the Sergeyev 3rd act/Hunting Act - whatever - insofaras personally I prefer to see Lilac Fairy en pointe and more dancing for the prince. Of course, this was not as Petipa intended but times move on. Both the Lilac Fairy and the prince have far less actual dancing in the Vikharev reconstruction than in the Sergeyev SB. The Vikharev ensemble work is wonderful, and also I love to see so much of the Vaganova children as pages, garland waltz dancers, Lilac Fairy attendants, cherubs and so on... I hope that now they have brought the beautiful reconstruction out of the doldrums, Mariinsky will continue to show it. It is a WONDERFUL evening of ballet... congratulations to all the dancers and their coaches for their great performances!
  21. Wow. I'm surprised, because she landed so heavily on her leg/knee, but since she landed on that side, I guess her arm or hand did take the brunt of the fall then. I hope she does come back soon.
  22. No - that already happened when Oksana Skorik danced Aurora.
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