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MadameP

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Everything posted by MadameP

  1. DISGRACEFUL!!! Mariinsky represented by non Vaganova dancers? Ridiculous.
  2. Shamala Guseinova the first variation, then Vlada Borodulina.
  3. Really? They look completely out on my screen - unless the sound out of synch.
  4. Completely agree. These fouettes might be executed at a "constant speed" but look laborious and they are not in time with the music.
  5. 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!
  6. Krysanova is FAR from being a Mariinsky or Vaganova trained ballerina. She's Bolshoi through and through...
  7. 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...
  8. 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...
  9. 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.
  10. 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.
  11. So beautiful ... his lines, musicality ... everything!
  12. 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!
  13. Nice step up in ranking for her!
  14. 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.
  15. Agree Smirnova is fabulous Nikiya and certainly was so at last year's Festival.
  16. 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.
  17. MadameP

    Yulia Stepanova

    Rodkin needs to star in a hairspray advert - perhaps that would get it all out of his system? !
  18. 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!
  19. 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.
  20. 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!
  21. 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.
  22. 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.
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