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Quinten

Senior Member
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About Quinten

  • Rank
    Bronze Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, balletgoer
  • City**
    Los Angeles
  • State (US only)**, Country (Outside US only)**
    CA

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  1. Lovers of dance, I give you YUZURU HANYU! Amazing musicality. His spins in rhythm (on subdivisions of the beat) without marking it with other body movements as a dancer does in fouettés. He just somehow makes his spins the right speed. His upper body -- can we call it epaulement? Such control. The hands tell us what's happening in the music. I've never seen a skater use his hands to such artistic effect throughout spin sequences. When something goes a bit wrong (as in the combination jump) he recovers by improvising and makes it look like it was intentional. Such confidence and mastery. A joy to watch.
  2. Quinten

    Mikhail Lobukhin

    @MadameP Lucky you to have seen so many of these performances!! No Solor, though? He says in the interview he doesn't dance Solor very often -- perhaps it's viewed as a "princely" role and other BP principals are deemed more appropriate? If that is true, I wonder how/why the Chelyabinsk/Israel tour came about. I read that initially Nikulina and maybe Lantratov(?) were going to do it, but then Lobukhin/Stepanova were announced just a few weeks ago. Maybe his star is on the rise!
  3. Quinten

    Mikhail Lobukhin

    @Mashinka thanks for responding. Too bad we didn't see him in the cinema broadcasts of Corsaire and Flames. Wonder why?
  4. Quinten

    Mikhail Lobukhin

    Thank you Helene. I wish I could write more about Lobukhin myself but I really can't analyze performances I haven't seen. Hopefully I will see him perform in London this summer and will certainly write more then. It would be great to hear members' reactions to the article from the Jerusalem Post, especially anything more that people know about his development as a dancer. Was he always a great actor? How did he evolve into the presence he is today? Why hasn't he danced Solor more frequently, is there something about his physique or technique? Then more questions about his path to the Bolshoi. He says there was a change of management at Mariinsky that was a factor in his leaving -- was that after Vaziev left, and what was/is his relationship with Vaziev? I hope members will post here about their impressions of these performances so the reactions don't get lost in the Bolshoi general forum. I had hoped to post photos of Lobukhin in all his iconic roles to create a record of sorts, but if that is against Board policy then so be it.
  5. Quinten

    Mikhail Lobukhin

  6. Quinten

    Mikhail Lobukhin

    Just a few pics to get the ball rolling.... Ivan the Terrible Spartacus
  7. Quinten

    Mikhail Lobukhin

    Maybe it's time for Misha to have his own topic. Here's an interview from the Jerusalem Post in which he talks about how he came to study ballet, reflects on his Mariinsky years and transition to the Bolshoi, and reveals his thoughts about performing the role of Solor with Yulia Stepanova and the Chelyabinsk Ballet in Israel next week. https://www.jpost.com//Israel-News/Culture/Turning-a-no-into-many-yeses-572106 As Solor with Yulia last May:
  8. Awaiting casting for Artifact Suite and Petrushka for the Nov. 20-24 block. Seems like an odd double bill but maybe it will make sense.
  9. Quinten

    Yulia Stepanova

    Stepanova update: Yulia is now officially rehearsing with Kondratieva https://www.bolshoi.ru/en/persons/ballet/2881/ This had been forshadowed by an IG post above showing an end of season photo of her with other Kondratieva dancers including Smirnova. Smirnova recently switched to Allash. Yulia and Mikhail Lobukhin will appear as Nikiya and Solor with the Chelyabinsk Ballet in five performances of La Bayadere in Israel November 22-27. Are these two preparing for the January Bolshoi in Cinema broadcast of La Bayadere? https://bravo.israelinfo.co.il/announce/60283?fbclid=IwAR02zTBHnGATT1X8lVmJLSmQT7svNDdfCB8x0OxaTsho2bTopD46vn2QKU0 Yulia is scheduled to star in Swan Lake with the Novosibirsk ballet on December 1.https://novat.nsk.ru/en/afisha/performances/detail/1339692/?fbclid=IwAR2gT8w14nwZt3jlgzOkuYmNlKP49I8cP5zMn4tdf8EuvlD9DRPPozu9JKw
  10. Quinten

    Yulia Stepanova

    @Drew 😊
  11. Quinten

    Yulia Stepanova

    An excerpt from a recent Stepnova/Ovcharenko performance of Swan Lake has appeared on YouTube. Here is a detailed, emotionally compelling, technically excellent portrayal of Odile. Yulia has obviously worked hard with her coaches over the past year or so to refine the characterization, now effectively using her body and her face to tell the story in her own unique way. The pairing with Ovcharenko has blossomed into a true partnership of mutual support and rapport. Yulia has come into her own with this role. She is the true successor to Zakharova in Swan Lake.
  12. Quinten

    What is "Musicality" in a Dancer?

    @canbelto I read somewhere that the Gelsey/Giselle clip you posted above was originally without music and the piano was edited in --more precisely, that the original was danced to orchestral accompaniment that for some reason was not recorded and the piano was added later. If that's the case, as in silent films, the pianist may have been watching the clip while playing, essentially accompanying Gelsey as she danced, varying the tempo to stay with her. The pianist took a good stab at it but the accompaniment obvioulsy lacks the rich orchestral colors we're used to hearing, and the bare bones nature of the piano reduction doesn't provide much support or context for the dancer. Gelsey doesn't really need musical support because the music is in her and she is the instrument. In fact, If you watch this clip with the sound turned off the incredible complexity and richness of her movement is all the more obvious. I have to agree with whoever said this degree of musicality is innate -- there's no way anybody could learn this, although I'm sure that Gelsey constantly worked at improving her native gift. I agree with the consensus here that dancers should not vary the tempo or make accents simply as a matter of convenience or as a way of dealing with technical problems. But how much variability is ok? In this clip Gelsey varies the tempo a lot, slowing down, pausing, rushing ahead in a very improvisational manner. This amount of rubato is ideal for a romantic ballet, which is a sort of battleground of classical form/discipline vs romantic freedom/personal expression, but it might not be for ballets from other eras.
  13. Quinten

    Yulia Stepanova

    And here's IG video of a rehearsal for Yulia's debut as the Diva in Nureyev.
  14. Quinten

    Yulia Stepanova

    Here's a little bit more of that Dying Swan debut.
  15. I was so hoping for Obratzsova.....
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