mnacenani

What a great movie this was/is ! Will try to find the dvd when I get home tonight and watch it again. Re remuneration of dancers : at the time of the Bolshoy Filin acid incident it was said/written that the bad blood resulted from Filin not casting Dmitrichenko's then "partnyor" Vorontsova (currently principal at Mixailovskiy) leaving her skint, as at the time dancers did not have a salary and were paid on piecework.

BRAVA ! Will try to send this quote to Hanna Weibye if I can find her email address. Does anyone have it ??

Dear Fraildove many thanks for taking the time to express your views - I appreciate it. I am aware of my shortcomings, at least of some of them, and having "idées fixes" about certain things is one ! In an earlier post about a different subject which you probably did not see I diagnosed myself as having "obsessive compulsive personality disorder" Yes - I should take it as it comes and not try to cherry-pick casts I keep telling myself, to little avail so far. But when one of my ballet friends suggests I should see something or someone I always I try to accomodate, and I am thankful to my friend Katya for suggesting I go and see Novikova. And if I can I try to see two different casts of the same work whenever I can at the Balshoy, to compare characterisation and execution : one time I saw both the matinee and evening perf's of Don Kixot to compare Krysanova and Zaharova as Kitri, surprising my ballet tutor Vita who is a pro. Am going to see two nights of Korsar in two weeks to compare Stepanova and Smirnova, I hope ! Alas, I have not been able to see Genya Obr. at all in a major role - I think she was out for all of the previous season. Saw her last at the Dance Open closing gala in Piter last April and she was not very good, got "polite applause" only. Was supposed to see her in Etudes on Saturday but had to give up to see Alesya as Juliet. Will be trying to catch Genya in a Petipa classic this season. I know what you mean about being drained - I saw Diana more than once in this condition at the curtain calls after dancing Juliet, looking totally drained and in a trance. She also gives everything she has to the viewers, to mesmerising effect.

At this point I would like to bring something up for discussion : I attach utmost importance to the "book" in a stage work including ballet, which for me has to have a universal, timeless and geo-unrestricted story and must be able to convey the story and affect the viewer via dance only. And I have utmost admiration for the efforts of Lavrovsky and Prokofiev who produced a work which will live for ever. But then, there is a quite critical flaw in the book for this work : why does Romeo not know that Juliet has been given a "deep sleep" potion and in reality is not dead ?? The Lavrovsky staging omits this very critical link in the drama, leaving the uninitiated viewer stranded. As much as I love and admire this work I cannot say "well everybody knows Shakespeare and his R&J" - this is not the point, the viewer must be able to detect why from what is presented on stage. Now I hate the Grigarovich version but this critical link in the drama is there - the original Shakespeare story has too many "mothers-in-law" : the messenger friar being quarantined due to outbreak of plague etc. In the Grigarovich version there is a short sequence which flashes by showing the messenger being captured and killed (pls correct me if I'm wrong) thus enabling the viewer to make sense of the subsequent action. So, it can be done, and I wonder why or how Lavrovsky and/or his librettist/s, made this critical omission. Any suggestions or comments most welcome.

https://www.mariinsky.ru/en/playbill/playbill/2017/9/30/2_1900 Had ticket for Etudes/Carmen matinee at Balshoy and wanted to see Genya who I have not seen live in a major role so far (always try to book my favourite dancers) and Mark Chino who was one of the winners of the Moscow compet this year. Then couple of weeks ago my friend in Piter sent a heads-up saying Alesya Novikova is excellent Juliet but dances this role very rarely, so off to Piter by Sapsan to arrive just one hour before curtain up. I was told Sapsan is always on time and lived up to its reputation, giving me time to drop off my bags at the hotel. Less congested weekend traffic also helped - those members who know Piter would know how it is on weekdays at evening rush hour. This will be repetitive but have to touch the matter briefly : I fell for Russian classical ballet after seeing Vishnova and Shklyarov as Romeo&Juliet on Mezzo satcast in 2013 and then live at the ROH in 2014. They instantly became my default Romeo and Juliet, and I was so infatuated with Diana as Juliet that I could not accept Diana as Giselle or Nikiya, and could not accept anyone else as Juliet since then (nut case ?). Am just coming out of this trance (one of my Russian ballet friends diagnosed me as an incurable romantic) and recently realised what an excellent Giselle Diana is/was. So had to see Alesya, and must say the hassle was well worth it. Alesya imho is also a "natural" Juliet - she also "owns" this role. I am not going to, and anyway am ill qualified to evaluate execution, but isn't characterisation more, most important in this work which for me is THE pinnacle of narrative ballet ? I am adamant that in any stage performance the "book", the story is of utmost importance - start with a bad or weak one and it is doomed, nothing can save it, hype will only keep it going for a few weeks or months. Then the music : has Prokofiev written anything more iconic ? For me this music is inseparable from this ballet, I cannot imagine Romeo&Juliet being set to any other music. A masterwork (for me the masterwork) of modern composition, it's incredible from start to finish. The story and the music tug at your heartstrings throughout the work - if you don't agree with this then you and I must have been born under very different stars ! Shklyarov remains my default Romeo - imho he owns this role and nobody else I have seen so far can lay claim to it yet. Saw Diana with Ovcharenko last season, he was good but Volodya owns this role. If my info is correct he is in his late 30s but my, what characterisation - makes you believe, accept him as Romeo. Now that Diana has hung up her pointes Alesya becomes my default Juliet, at Mariinka at least. As much as I love the Balshoy I cannot name anyone there who could be "Juliet". Will never see the Grigarovich version - the master has made a hash of a beautiful ballet, I hate it. It's the only Griga staging I give the thumbs-down so far. I am due to see the Ratmansky staging (ugh!) in November and who knows I might have a Juliet at Balshoy too. ADDENDUM : At this point I would like to bring something up for discussion : I attach utmost importance to the "book" in a stage work including ballet, which for me has to have a universal, timeless and geo-unrestricted story and must be able to convey the story and affect the viewer via dance only. And I have utmost admiration for the efforts of Lavrovsky and Prokofiev who produced a work which will live for ever. But then, there is a quite critical flaw in the book for this work : why does Romeo not know that Juliet has been given a "deep sleep" potion and in reality is not dead ?? The Lavrovsky staging omits this very critical link in the drama, leaving the uninitiated viewer stranded. As much as I love and admire this work I cannot say "well everybody knows Shakespeare and his R&J" - this is not the point, the viewer must be able to detect why from what is presented on stage. Now I hate the Grigarovich version but this critical link in the drama is there - the original Shakespeare story has too many "mothers-in-law" : the messenger friar being quarantined due to outbreak of plague etc. In the Grigarovich version there is a short sequence which flashes by showing the messenger being captured and killed (pls correct me if I'm wrong) thus enabling the viewer to make sense of the subsequent action. So, it can be done, and I wonder why or how Lavrovsky and/or his librettist/s, made this critical omission. Any suggestions or comments most welcome.

Mauvaise langue !! Just checked and she is on at Balshoy website for 19 October. However, I am used to Zaharova going awol (2/4) so would not be shocked if I see someone else manually written in on the cast sheet on the day !

Having been an opera goer for 30+ years before becoming addicted to Russian classical ballet after a single shot of Vishnova's Juliette, I really could not miss this. But maybe I should have looked at the repertory page more closely : this pinnacle of Russian opera, which I had seen at the ROH in 1990 in its full 5 act, 4½ hour version has been butchered and cut down to 2:45 hours by butcher Lybimov, who should be flogged, drawn and quartered for this blasphemy. Unrecognisable for anyone who knows the original (dvd available at Premiere Opera) - even the beautiful overture which is a staple concert piece has been cut to nothing - I mean it ! It has been in the news for some time that there is a trend to cut all operas down to 2 hours because the younger generation cannot concentrate on anything longer ...... disgusting !! Now the ballet : I found the Polovtsian Dances from this production on YT in HD. Do watch this please : the beautiful, exquisite PdB of the Russian school is strikingly evident even in this sequence, at least this newcomer thinks so. Would like to hear the views of any members who agree or disagree :

Casting for the evening : http://www.bolshoi.ru/en/performances/235/roles/#20170928190000 Not one of my favourites in terms of music and choreo (Ratmansky) but wanted to invite two friends who helped me get a one year visa enabling me to come and go at short notice. Had bought tix before casting was posted but cast was OK even good : Kavalyova who danced the lead in Swan Lake 12 days ago was one of Armida's friends. Aaaaand - Yulia Stepanova who I will be "viewing to buy" (Turkish idiom) this season was cast at Mireille ! The leading pairs Shipulina/Lantratov and Savichev/Stashkevich were OK, though Ship and Stash could benefit from some presence and "allure" if it came by. Stepanova : am trying to wipe the slate clean and forget the unacceptable fouettées I saw last year. This girl imho does have presence and some allure. I was impressed by her physique and dance, Mireille has no fouettée prescribed so can't say anythin g at this stage but "Korsar" on 18th October is coming up fast and my "buyer's eye" will be fully focused at close range !! At my age I have even less stomach for diplomatic language and will not be mincing my words one way or another. What's more I will be seeing Smirnova the next evening to compare characterisation and execution. Casting for these two "Korsar"s in case anyone is interested : http://www.bolshoi.ru/en/performances/198/roles/#20171018190000 http://www.bolshoi.ru/en/performances/198/roles/#20171019190000

Sorry for jumping in but could not resist when I saw Tiler being mentioned. I don't track US companies and dancers, earlier this year wanted to refresh my memory of Carousel as I wanted to see the staging in London and bought the PBS dvd of the semi-staged performance they had telecast some years ago. They had the orchestra on stage and had no room for the ensemble for the "Heaven's Ballet" sequence, so this incredible girl comes out and I am captivated and mesmerised within 15 seconds ! Then her partner also comes out .... also great and I reach for the dvd back cover : it's Tiler Peck and Robert Fairchild ! Couple of months ago saw "American in Paris" headlined by Leanne Cope (RB) and Robert Fairchild - my, would be unforgettable if it had been Tiler & Robert, but maybe too good to be true.

No relation - I did not want to start a new thread and wanted to draw attention to the music which had been discussed in this thread.

https://www.youtube.com/watch?v=dMakWHsesyo https://www.youtube.com/watch?v=R_nexj4aHJk These videos are not ballet videos but isn't the light show on the facade of Bolshoy Theater beautiful ?? I do hope ADMIN will let this post stand albeit for a limited period so that any members who don't know about this yearly event can get acquainted. It is held at 5 locations in Moscow around the 3rd week of September every year : http://www.lightfest.ru/en/

Alastair Macaulay's review of Houston Ballet's staging of Mayerling (North American premiere ??) : https://www.nytimes.com/2017/09/24/arts/dance/review-mayerling-houston-ballet-macmillan.html He must have listened to some alternative score : the original music I heard at the ROH was totally unmemorable !

Some insiders are saying that despite the announcement the actual staging could still be kicked down the road !! Seems there is a power struggle between the proponents and opponents. PS - just looked up online schedule : nothing has been posted for the Historic Stage for 9-10 December in Russian or English. There are other events posted for the New Stage.

How can you tune in to TV Kultura ?? We cannot get it on satellite in Istanbul, and I have never been able to get the webcast either direct or via VPN. Any suggestions will be greatly appreciated !

Behind the Scenes with Alyona Kovalyova, Rising Star at the Bolshoi Ballet http://www.vaganovatoday.com/alyona-kovalyova-bolshoi-ballet

https://www.operadeparis.fr/en/magazine/last-rise-of-the-curtain https://www.dansesaveclaplume.com/en-scene/449164-les-adieux-a-la-scene-humbles-et-emouvants-de-laetitia-pujol/

Мы увидим !

Had sort of written Stepanova off after seeing her botch the Medora fouttees on two consecutive nights at Malakhov&Friends galas last year. It was also reported that she was not able to execute a perfect fouettee at her Medora debut at the Bolshoy earlier this year. But she does have a following among our senior members and I have been persuaded that Stepanova merits a closer look, as I have not yet seen her in a full classic. I saw Smirnova live three times last season as Nikiya, Aurora and Ode/Odi and have no doubt she is a great dancer. Now, everything going according to plan, I will see both Stepanova and Smirnova as Medora on 18-19 October which will give me the chance to compare and size up Stepanova. Hope to post my takes in due time.

Admin has deleted the link I had posted for the original TACC news report. Seems this is also off limits !

Dear CharlieH : "a lot of waters will flow under this bridge" till December and ticketholders may again be treated to another two performances of Don Kixot let's wait and see. I am hoping to be in Moscow on 22 November for the Ratmansky R&J and will keep my ears open.

As reported today by the Moscow Times (did not check whether anyone else posted this) : https://themoscowtimes.com/news/controversial-ballet-nureyev-to-premiere-december-59022

Forgive my ignorance (no longer tracking London except for Osipova) - where and what did they dance ??

Dear Helene I was devastated when I missed Masha's last performance as Gamzatti at the Balshoy end of past January and she resigned couple of days later - I had tix but could not make the trip and gave my tix away to friends. It was my dream cast : Zaharova, Alexandrova, Rodkin.