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About SFCleo

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  1. I hope she's at home or in a nice vacation spot with her husband resting up and eating something!
  2. Thanks for sharing your observations with us. It's great to hear that she was able to convey Medora's personality, which is quite different as you say from the other leading roles she's done. The ability to convey cheerful girlishness that she demonstrated in this debut will hopefully persuade Vaziev to give her Giselle and Aurora very soon. What did you think of "la petite Corsaire"? I wish I could've seen her making the "twirling the mustache" gesture! Did you see/speak with her afterwards at the stage door?
  3. Italian fouettes seem to be out of style at the Bolshoi. Have no idea why, they are just wonderful when done well.
  4. Thank you Drew and Birdsall for responding with your interesting thoughts! This was not intended as a contest about who is the best ballerina but rather to explore musicality and/or lack thereof. I chose videos of the same variation in order to compare apples with apples. Each of these wonderful ballerinas has put her own stamp on the Bolshoi Queen of the Dryads variation, expressing the music in different ways. Although in general I prefer Vaganova style, I have to say that Shipulina is overall the most successful in conveying the choppy choreography of this variation as a continuous flow
  5. Live performances of any art form always provide much more information about the performer's artistry than video does, but that doesn't stop classical musicians from comparing videos of musicians playing the same piece. Let's do the same here, comparing video performances of the QoD variation: Here's Shipulina: Smirnova: and Stepanova: I don't have the vocabulary to discuss steps and would very much appreciate being educated about what (in detail) these dancers are doing differently and which are successful.
  6. It would be just too weird if videos consistently show a dancer in time with the music and errors appear only in live performance. If 100% of a huge number of videos show a dancer moving in time with the music it seems to me that this is highly probative of her ability to do so, consistently. Of course nobody dances musically in time with the music all the time, so there must be videos of this dancer showing tempo errors, but I have never seen one. I really think the burden is on those who say this dancer is unmusical to show us a video where this is the case.
  7. FWIW, there is a thread called "Bolshoi 2016 London Tour" and another called "Bolshoi Under Vaziev" to discuss matters like audience behavior and Bolshoi dancing style. I would be interested in seeing videos in which Yulia appears to be dancing unmusically or not with the beat (two different things, actually). As a musician, I've always been impressed with her musicality, i.e. Her ability to use the music in her dancing. To my eye, there is a sophistication in her dancing - a lack of "beatiness" -- that may be mistaken by some as not being "on" the music. Among solo musicians, it's ok to p
  8. Bows and autograph signing.
  9. Sorry, did not mean to discount your observations but rather to point out differences of opinion which are very common with respect to this dancer. In videos she seems to be looking at the audience and it's hard to judge the audience rapport, but I have read criticisms similar to yours. it seems to bother some people while others don't see it as a problem.
  10. No doubt opinions of Stepanova are polarized. However, the reviews of Stepanova's Queen of the Dryads in London that I'm aware have been positive. "In the Dulcinea dream – a ballet blanc reminiscence – the Bolshoi Ballet reminded us of how beautifully versatile the dancers can be. Dryads were as ethereal as swans, picturing an unattainable and idealized fantasy. As Queen of the Dryads, the Bolshoi's latest gem – another Vaganova girl – rivalled Smirnova. A rising soloist, whom Vaziev is increasingly entrusting with roles, Yulia Stepanova is a name to remember. Facing Stepanova's imperial pr
  11. SFCleo


    Kolegova is a good example of a dancer who even in a role not ideally suited to her can nevertheless make something credible of it. It takes an imaginative dancer, with a lot of skill, but also a role that is not too far outside her physical appearance, personality and abilities.
  12. SFCleo


    Skorik's well-suited to abstract ballets imo (is that an "emploi"? idk) . One is unlikely to be distracted or annoyed by the lack of characterization in Diamonds, for example. I still can't get to "impressive", however, because of the academic quality of much of her dancing -- I see her thinking about steps rather than the music, and for me that's unforgivable, especially in a dancer with as much stage experience as Skorik has. (I wouldn't mind so much if she were a soloist, but as a principal -- yikes!) I have to agree with you, Drew, that there is an "air of vulnerability" about her th
  13. SFCleo


    Watching Skorik's Aurora (thank you Drew) I kept thinking of the contrast with Obratzsova's happy, good natured, graceful young girl on the verge of becoming a woman. There's a quality of spontaneity and joy conveyed by Obratzsova that makes this character real to us. She is adorable. Nothing of the kind is conveyed by Skorik -- her tense and superficial smile fails to hide her lack of joy, her bow to her mother conveys no affection, she does not appear uncertain about whether she should dance with the suitors, and so on. Her body now creates perfect shapes that have an impersonal beauty bu
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