mnacenani

MUST-READ FOR ALEXANDROVA LOVERS LIKE MYSELF - Vaganova Today interview : http://www.vaganovatoday.com/vladislav-lantratov-and-maria-alexandrova-bolshoi-power-couple I'm still hurting from having missed her last Gamzatti at the Bolshoy last January, for which I had tix but couldn't make the trip.

This show premiered in in Italy (Palermo ?) last year and I saw the Bolshoy premiere on 24th May. Currently on a three day run in London ending tonight. I had posted a report after seeing it at the Bolshoy which now seems to be deleted. Would have liked to post a link to it here, because the "doyen of British ballet critics" Clement Crisp has written a review for the FT two days ago which almost completely matches what I had posted last year : "Amore is a rather peculiar evening. Its purpose is to display the gifts of the Bolshoi Ballet’s lustrous Svetlana Zakharova, cheerily identified by Tuesday night’s programme as “the world’s greatest ballet superstar” and, unhappily by your critic, as “the world’s worst picker of repertory”. The event offers three choreographies which range from the eagerly illustrative (Yuri Possokhov’s Francesca da Rimini) by way of the ill-advised (Patrick de Bana’s Rain Before it Falls) to an unforgivable assault on Mozart’s 40th Symphony from Marguerite Donlon, who imposes a sequence of tired physical jokes on five fine male dancers while Zakharova picks her elegant way through. “When in doubt, fall to the floor” is the piece’s motto. The evening makes plain that a grand ballerina, in quest of choreographies to explore her gifts in the later years of her career, should tread with care. I recall wonderful creations by Roland Petit whose wit and chic showed Zizi Jeanmaire as a supreme theatrical artist; and such small, potent ballets as Lichine’s Oedipe et le Sphinx, where drama blazed in performance by Jean Babilée and Leslie Caron. Amore’s earnest Francesca da Rimini, though, serves to clog Zakharova’s art, as Tchaikovsky rampages from the pit (the ENO orchestra under Pavel Sorokin’s baton is very fine), splendid dancers — Denis Rodkin, Mikhail Lobukhin — surge around the titular heroine’s anguishings, and attendant figures register despair and looming migraines. Rain Before It Falls is another trap for the unwary assoluta, burdened with meaning — “A room. A woman. Two men. Love” notes the programme — while clichés take their toll. The redeeming feature in these earnest steppings is, of course, Zakharova’s physical presence, denied at times by dance that clouds her gifts. But watch the felicities of her line as it opens out in exquisite phrases; see how an emotional clarity will illuminate some banality, and how the deployment of her body in the dance tells of rare artistry, and even tosh acquires an unlikely dignity". To recap : at the time I thought that only Francesca da Rimini was worth seeing - I did not know the story (shame on me) and the program was in Russian only but I was able to make out and follow the story from the action on stage, this is what I call ballet. The other two pieces Crisp has in reality complimented by characterising as "tosh" - the 2nd and 19th letters of the English alphabet, in capitals, would have been more fitting !!

Genya Obr. was first cast for Fri 24 eve, but was then moved to Sun 26 mat when Chudin dropped out and was replaced by Belyakov, most probably to give them rehearsal time. Then Lantratov dropped out after the premiere and Katya Kry. was also removed from her other slot and Obraz-Belyakov moved to Fri 24th eve which was her original date. Last night I saw Katya-Belyakov cast for Sun 26th matinee, so Genya's being shuffled around seems to have been due to injury-related cast changes requiring extra rehearsal time for new partners.

Was rescheduled to dance tonight (24th) since Krysanova-Lantratov dropped out - didn't she dance ?? PS : Bolshoy casting for 24th still shows Genya Obr. so she must have danced with Belyakov. Casting for 26th has again changed - now it's Krysanova-Belyakov !

Tomorrow Sunday 26th November - this is not live, think it was originally livecast last year. Bolshoy simultaneously streams live cinecasts on its website but as this is not live am not sure whether there will be a webcast.

The eminent Russian critic Tatyana Kuznetsova has posted a review for Kommersant today. "One has to have the courage of his conviction !" - I first heard this phrase when one of our lecturers was adressing my class during my postgrad year in London many years ago. So I am going to select some of Ms. Kuznetsova's comments and say what I think about their validity. The original of Kuznetsova's review : https://www.kommersant.ru/doc/3475510 "Ratmansky arranges the balcony scene in several sections, following Prokofiev’s climaxes, and manages an entirely Shakespearean dialogue with all his psychological corners and emotional overtones". I had already written in my opening post that I had found the staging of the balcony scene realistic and the pdd choreo good but not superior to Lavrovsky or Macmillan. "The dance is detailed, sophisticated and devoid of any pathetic element: almost all the main episodes emerge with new meanings and motivations - so naturally that one can only make a true evaluation of his innovations by comparing them with other stagings. An equally discreet uniqueness can be seen in the ballet language itself - classical, lucid, ideally coordinated ..... Ratmansky deploys canonical jumps, recognisable lifts, and commonly used step phrases; he does not need to be 'original’ or self-assertive. This is choreography with a tender eye, already imbued with its own intonation. You could not confuse with anyone else his detail in ensemble, the speed of foot, the almost everyday movement of the torso, the surprising angles, the flutter of small beats, all winding in dance so organically made that it seems quite simple and straightforward" I am not sure whether we were at the same performance but there was only one : I saw nothing special or worthy of extended discussion in the ensembles ..... and people criticise Macmillan for repetitive and uncoupled ensembles ! On the other hand : what about the destruction of the drama - taking a great tragic story and making the priest dance a PdT with the young lovers about to die ?? Absolute zenith of bad taste, disgusting ..... it seems for Kuznetsova ballet is motion set to music - not for me !! "Krysanova… amazing - light, childlike, explosive, impatient, despairing… the complexity of her role is invisible in her performance, the lines of dance are lovely, while her portrayal is so clear that the ballerina’s marvellous technique is barely noticed, the great actress eclipses the ballet dancer" At last something about which we have the same take : I already wrote that Krysanova surprised me with her incredible acting in addition to her dancing, yes - the great actress did really eclipse the great ballet dancer, so good to have seen. "Lantratov… clean, decisive, impulsive and unexpectedly mature: for almost the first time one finds the ballet story not being dictated by Juliet. Obviously Lantratov has no problems with tours and pirouettes, he is a knowledgeable and experienced partner, and, for example, he plays and dances the scene in the crypt with enormously expressive self-effacement, it is a real actor’s triumph" Sorry, not how I saw it : Lantratov faced the camera and recited his lines correctly without hesitation but for me great acting is something else. The scene in the crypt ..... which scene, was there one ?? What about the drama ?? Cannot imagine anyone who has been affected by the original buying this me-too remake. I love the American saying "if it ain't broke don't fix it !" Welcome comments and corrections from our Russian speaking members who can decipher the review so much better than I can. I hope "admin" is in a good mood today and will not summarily decapitate my post - did put some effort into it.

Recent post by Catherine Pawlick on the Smirnova-Chudin-Kavalyova Giselle of November 11th. Read her remarks regarding Alyona's Myrtha debut - now I'm twice sorry that I missed this completely : http://www.vaganovatoday.com/grigorovichs-giselle-bolshoi-ballet

When I got tix for this 3+ months ago I thought I would be seeing something Ratmansky created new specially for the Bolshoy. Being a newcomer to classical ballet I did not know this production had premiered in Canada in 2011 - if I had known I most likely would have given it the thumbs down. I am dead against the great classics being "updated" or "reinterpreted" to start with, and something created for another company which surely doesn't have the human and financial resources of the Bolshoy being transferred to the Bolshoy ???? That said, ex post facto I am so glad that I got tix and made the day trip - not because this "reinterpretation" is imho something unmissable, but because due to this I discovered what a GREAT artist Katya Krysanova is. She surprised me beyond anything I expected, though I have great respect for her art. Juliet is imv a very special role, requires great characterisation : I fell in love with Russian classical ballet after seeing Vishnyova and Shklyarov live just once, and dropped my decades long quest for opera. Before last night I had seen Katya live five times at the Bolshoy, twice as Kitri, once as Mehmene Banu and twice at galas. Her performance last night means I will be actively tracking her scheduling, imho she was great, great, GREAT. Now, Ratmansky's R&J tracks the Prokofiev-Lavrovsky original we all know, another me-too product. I am not well qualified to review choreo or execution but will write what I think regardless, our learned members can fill in any gaps. I found the ensemble scenes in Acts 1 and 2 rather meaningless, uncoupled from the story and not very imaginative. Am not sure but I thought the music of Act 1 was cut in some places (performance lasted 3 hours sharp wit two intervals). The moment Katya appeared I immediately sensed that I was in for a big surprise - last week we were talking about how a great artist can capture you in 10 seconds and imho Katya is in this class, excellent execution, characterisation, oozing self-confidence which makes one think she would never put a foot wrong, and she doesn't !! Lantratov was good as Romeo but not great for me : Shklyarov is my default Romeo, Ovcharenko coming second. Tsvirko as Mercutio was excellent, got big applause at the curtain calls. Some plus and minus points : the balcony scene starts with Romeo dancing solo with Juliet looking down from her window above, in a replication of "Juliet's Balcony" (!) in Verona and I found this imaginative : Juliet is supposed to be a 15-year-old teenager and it would take some enticement to make her come down, then on the pdd is good but so is the original and Macmillan's. On the other hand, the priest joining the dance in the second act PdT I found quite in poor taste and a real spoiler - the originator/s had better taste surely. But the real letdown and spoiler is the finale : it's as if in 2011 someone told Aleksey : "end it quickly otherwise we will go into overtime !" . This ending will not make anyone cry, but Lavrovsky's can and does ..... how do I know - takes one to know one. Lavrovsky's ending for me is the definitive version, requiring great characterisation and technique. Here it ends in crash-bang fashion, no famous overhead lift, no choreo, no nothing. Judging by the number of camera crews in the hall before the performance started the glitterati and politicos of Maskva must have been well represented. The New Stage where this R&J was staged is so nice : much smaller than the Historic Stage but excellent comfortable seating and excellent sightline wherever one is seated. Excellent interval finger food and drinks : can't imagine going to opera or ballet without this . Will post this now and add anything else which comes to my mind later as PS. A photo : https://pbs.twimg.com/media/DPQzuapXcAo-Of3.jpg:large PS : what an injury or other mishap-prone staging ! Daily casting has again changed for the remaining performances, with Katya and Vlad dropping out. Tomorrow Genya will dance as originally cast but with Belyakov. Lantratov is said to be injured. Current casting : https://www.bolshoi.ru/en/performances/4008/roles/#20171123190000

Have not seen her as Juliet, but imho she is the only one among the Bolshoy primas who "looks the part". Have no chance to see Genya on this run, am hoping Krysanova will surprise me somehow

https://www.bolshoi.ru/en/performances/4008/roles/#20171122190000 Firm casting has finally been posted by Bolshoy, less than 24 hours before the premiere tomorrow. Am happy that I will see Katya and Vlad, was hoping to see Genya Obr. as Juliet but she gets to dance only the final performance on 26th Nov, surely due to her partner dropping out at the last moment. Hope to write a few words soon after the show.

Obviously some things are/were not going well : one day to go and still no casting posted for the premiere !

Online ticketing works fine most of the time but one has to buy blind three months ahead. Sometimes the English version ignores the seats I have selected and I have to switch to Russian to be able to complete the purchase. Can't tell whether this is intentional to give locals preference over gringos ! I spend most of my Saturday afternoons at home at my laptop waiting for online ticketing to start at 5:30 pm (we are on same time as Moscow).

Buddy I missed this completely, was unaware, otherwise I probably would have gone. Seeing her as Myrtha would have been a great opportunity to judge her characterisation. As I keep mentioning the big problem at the Balshoy is that they post casting very late by which time the show is sold out, but if something is a must-see for someone tix can be found. Next time you spot Alyona cast for something please do send me a reminder.

So do I Buddy - as you know I saw her Swan Lake debut but would like to see Alyona in some other Petipa classics. Would like to sense whether she has the potential to join the league of ballerinas like Zaharova, Alexandrova or Krysanova who ooze self-confidence and command the stage the moment they step out.

Thank you for the heads up, here is the overall casting : https://www.bolshoi.ru/en/performances/4008/roles/#all MadameP poured cold water on my hope that I might see Genya Obr. at the premiere by posting above she will be dancing on the 24th. Between Katya Kry. and Nastya Stash. I would rather see Katya, will know soon enough.

Seems once again I will have distinguished company at the premiere. Last time at the Kovalyova Swan Lake debut our takes were almost identical, must beat her to the clock

Thank you so much ! Think I can live with this - really didn't know what to expect. Hope we will get dancers with great characterisation on the night.

Sorry : Stashkevich, Krysanova, Obraztsova

Just one week to go and still no casting posted. Stash, Katya and Genya have posted their rehearsal photos. Am due to see the premiere next Wed 22nd, cannot visualise anyone other than Genya as Juliet. Don't know this Ratmansky staging at all - hope it will be better than the current Grigarovich staging which imho has made hash of a beautiful ballet.

That's true but I reported what a diehard Stipanova fan mailed me after that performance. I fully support admin policy that hearsay should not be posted and will take care going forward. And to make up for my indiscretion I will now try to get the video from a source and come back to this issue after I have seen it.

Have you seen Belyakov as the "Evil Genius" ?? If you haven't you probably would find it hard to believe it was the same person if you somehow missed the casting for role.

Re Nureyev you do have a point. Medora debut of Stipanova at Balshoy was earlier this year, in April I think.

Fouetté was fine at this performance, no issue here.

Corsaire not being my top ballet, I would still dearly like to see Zaharova and Krysanova consecutively as Medora some day, hopefully on same day at matinee and evening, which is possible once in a blue moon at the Balshoy when the stars match up. I am not too analytical re technique, for me the "drama", the cha- racterisation is most important : whether the dancer is the character or trying to pass him/herself as the character. Last week Stipanova did not make me feel she was Medora, was too hesitant, but Krysanova did. Technique wise Zaharova is my most beloved dancer but she is not my top eg Giselle in Russia. All this is quite subjective and personal anyway - as I tried to reason in an earlier post we all maybe seeing what we want or would like to see.

(Between you and me, so as not to enrage our Stipanova fans) She also couldn't do the fouetté properly at her Medora debut at the Balshoy this year ! And much as I admire Smirnova I can't visualise her as Kitri, somehow doesn't fit.