Marianna

Privjet Local Foreigner in Almaty And another grande reverance to you (the first one went to djb for the profound knowledge of Russian phonetics) - and you were saying that you knew nothing about classical ballet! You've just told me something I didn't even know existed. IT IS ABSOLUTELY IMPRESSIVE!!! BRAVO!! I did know that the "copyright" for the Fountain of Bahche-Sarai story didn't belong to Pushkin - just like it was with most of this poetry and prose, he was searching for fresh raw material for his next masterpiece(s) everywhere, then he'd found a jewel and "shaped and polished" it - to make a diamond of it. Well, his genious did. But honestly, I didn't know that the place has actually exsited! WOW!! I thought it was some imaginary place where the story happened. SO THANK YOU EVER SO MUCH FOR THIS VIRTUAL TOUR!! And, yes, I did bring that CD with Sleeping Beauty for Leila back in June 2001 (for some USD 30 - which is quite a lot, considering that you can buy classical music CD back in Almaty for $2 - $10), but she kept saying that this ballet is a real marathon for a soloist dancing the Beauty part, so she didn't really want to do it, etc., etc, (which was breaking my heart, of course. So, I'm delighted that she's finally found enough inner strength to go for it. And THANK YOU for reminding me that it wasn't Leila who's performed Maria last week - HELLO! :rolleyes: of course it was Kuralay. I even spoke on the phone to her about it - two weeks ago. My memory goes as i'm aging (just kidding ) How was the Wife of Khan Ghirey - Zarema? It was supposed to be a premiere for a young ballerina, and I wasn't quite sure if she can actually do the role as impressive as the two others - about 10 years older than she - were doing it before her. I usually had to hold tears back during that famous scen when the Khan's servants bring Maria onstage and Zarema is shocked by her beloved husband's change in feelings towards her. ONE OF MY FAVORITE MOMENTS in that ballet! And how was Vatzlav, by the way? Was that Alexey Safronov - a young cute kid with beautiful lines (nice long arms and legs) who sometimes doesn't want to bother performing most difficult moves neatly? Eh? Tell me all about it - because i've been spending up to $300 Cdn PER MONTH on the phone - getting all the latest news from Kuralay and Dastan (another principal dancer of our ballet, he is REALLY GOOD and HARD WORKING KID). NOW, THANK GOODNESS I have you there And if you'd like to meet my boyfriend, then you can find him at the sound engineers room (or a booth to be precise), at the balcony level, just have some Russian speakers to find that room for you. His name is Alexander, shortly - Sasha, however he loves it when he's referred by his full name ALEXANDER. He speaks some English, so if you speak some Russian, you should be able to have some conversation between two of you. I will tell him that you will be looking for him (hmmm... i don't even know what your NAME is, though ) But, I'm sure he'll recognize a young man from Europe! And you will be able to recognize him - he is a tall slim guy, in his 20's, with big blue eyes and a big charming smile. Looks left aside, he is quite a decent person, but sometimes can get TOO SHY (like some of those ballerinas and dancers). I hope when you catch him he won't be in his shy mood - that is the worst time by far to meet that Sasha-guy as you won't squeeze a word out him then So, yes, next time you go to the Theater, make sure you ask for Alexander, the SOUND GUY (ZVUKOVIK in Russian) And I'll be awaiting for more ballet news from Almaty from you!! THANKS AGAIN FOR ALL YOU HAVE WRITTEN HERE! IT IS DEEPLY APPRECIATED BY AN ALMATY BALLET ADMIRER, LIVING IN TORONTO!!

It is Kah-she'ey - I guess, it is better later than never, eh? It IS a difficult word to figure - this transliteration from Russian is quite confusing. I'd tranlsiterate that evil character as Kashay (or Kashey), as it would be reading closer to the original Russian word

A grande reverence to djb for the most profound knowledge of Russian phonetics - having got a BA in Russian language and literature, I do have lots of respect for people who actually had that phonetcs subject figured out (trust me, it is NOT an easy subject even for native Russian speakers :green: ), and even better - are capable of explaining it to others "short and sweet". As a native Russian speaker I vouch for djb - no Russian phonetics professor could've put it any more clear for you! You actually had that "YO" character figured out!! BRAVISSIMO DJB !

AND a bit balated THANK-YOU for the invitation to the evening of ballet in my home town, dear Local Foreigner in Almaty, I am accepting with great pleasure - well in advance! Enjoy La Sylphide, Nutcraker and indeed, that Sleeping Beauty! A presto, Marianna

Hi Local Foreigner in Almaty That quote has really SHAKEN ME when I first found it in a book about the most prominent dancers of Russian ballet (XVIII - through late XX century)! I thought: "WOW!! How did that ballerina who lived more than a century ago know EXACTLY why i became so addicted to ballet now - in the the very end of XX cent.!?????" I was horrified and mistified (one would love to imagine that people in the XIX-early XX cent. in Russia were free of problems and work-related stress ). But then i realized that real values in our lives have remained the same since long B.C. and the values that ballet delivers have remained that steady castle of rock that will never be shaken by no changes that may be brought by this civilization. I am glad that you have discovered WWW.GATOBABAI.KZ - i check it out every day, so you can look for notes by Odillia (yes, Almaty is a small place compare to Toronto or NYC, and I was about the only Marianna who was attending the ballets as often, and it was too easy to figure me out, so i took a nick Odillia The fact that the site has been created is fascinating, however it definitely requires LOTS of improvement and professional work there. I am so impressed by the Kirov-Mariinsky/Bolshoy site created by Marc Haegman - that is something folks in ALmaty should strive for. THANKS FOR GREAT NEWS, TOO - LEILA IS FINALLY DANCING SLEEPING BEAUTY!! I've brought her Sleeping Beauty CD from WashDC back in June 2001, so she finally has done this role. I am having a video tape of it ordered for me!!! You know, my boyfriend works in the Opera&Ballet theater as a sound engineer, so I ask him and his partner to video-tape my favorite ballets for me (so i am a lucky exclusive owner of the tapes with Swan Lake, Fountain of Bahchi-Sarai, and some others) Speaking of the "FountainS of Tears" It is not "fountainS" - it is one single fountain The ballet synopsis is based on the poem by a great (my favorite) Russian poet of XIX cent. - Alexander Pushkin. The Fountain of Tears was built by Khan Ghirey as a memorial to a Polish Princess Maria (that will be our Leila) who was stubbed to death by the jealous Ghirey's senior wife Zarema (he owned a harem, you see ). The fountain was built that way that the water was dripping like tears (vs. fountainig like other foutnains in ALmaty do) - Khan Ghirey's (nasty cheater!!!) tears over his lost Maria. Hope you've enjoyed that ballet!! I often hold back the tears during that scene when (the NASTY CHEATER!!) Khan Ghirey's servants bring a carriage with Maria up on stage and Zarema is stunned and shaken - when she sees that her beloved husband has yet another woman on his menu list (nasty cheater!!) I am glad that you're enjoying mountains, ski resort AND snow in ALmaty. It hasn't snowed here in Toronto yet ( i don't complain!! )

Hi Funny Face I have left from Almaty, Kazakhstan for Toronto, Canada just few months ago, and before then I've managed to put several adds on this site about the Almaty National Ballet. I am a great fan of the Almaty National Ballet and Opera and a friend to some ballerinas and dancers of our ballet (and am very proud of it ) If you would like to read about 'what kind of ballet culture' is present there, i can tell you briefly that it is based on mainly St.Petersburg classic ballet school - as famous Russian ballerina Galina Ulanova has visited Almaty during the WWII and aftewards - she helped with staging Swan Lake and several other ballets. Besides, several of the soloists who are dancing in Almaty Ballet right now, have graduated from the Vaganova Ballet Academy, St. Petersburg, and several others from the Moscow Ballet Academy. So it is really classic and is supported by the Russian ballet traditions. On the other hand, National Ballet and Opera are indeed using Kazakh national folk treasures and there are some ballets and operas created by the legends, myths and historical events of the Kazakh people. Kazakh national costumes are presented in those operas and ballets with great details and colors. THey are really beatiful, and i can't wait until i gain the necessary number of adds placed in this forum, so I would finally have a permit to start placing photographs i've taken of our ballet dancers and opera singers to share them with the rest of the people who visit this site!! IF you are interested in getting an idea about who dances in Almaty right now and what are they like, please go to the European Ballet Companies section on this site and closer to the bottom of the list there must be Almaty National Ballet listed - there are several adds for you to read. I've also listed a repertoir of the Almaty National Ballet there. Have fun! Marianna

Hey Local Foreigner, welcome to Almaty! I've lived in Almaty all the first 29 years of my life before i've moved to Canada in July 2003. I am a great fan of the Almaty Ballet and a close friend to some of the ballerinas and dancers. They are my precious friends whom I'm missing tremendously!! I am glad that you are delighted with Leila Alpieva's talents - she is a indeed a brilliant, versatile and most hard-working ballerina and is always a true pleasure to watch. She has a great personality, too, one of the brightest and brilliantly talented young women I've met in my life. So if you are serious about marrying her you better prepare those 500 camels (or 300 bred horses) that anyone who wants to marry a Kazakh beauty must present as a gift to her parents. This ancient Kazakh tradition is called KALYM - sort of price that a husband-to-be pays to the bride's parents for taking her away from them. (just kiddin' you are not expected to do that anymore in Kazakhstan) I can reassure you that besides the Nutcracker you are up for many more great ballets while you're in Almaty. I'll be very happy if you can keep us - those who are away from Almaty these days - posted on the recent ballet performances. Try to take your eyes sometimes off Leila and get a comprehensive picture of a whole ballet . However, I won't argue the notion that Leila herself is absolutely worth a whole ballet at times. Enjoy your time in ALmaty and make sure to check out the mountains and ski resort! Welcome to Almaty again Marianna

Hello EVERYONE I guess, I know who was that person posting from Almaty. I am pretty sure it is someone who's moved to Almaty and is now working at the Health Unit of the US Embassy - exactly where I used to work. And YES, i did rush out as soon as the intermission began. I'd like to add that i am not a kind of a person who faints as she sees some "naughtyness", I am sure that Mozart himself would like that and found it amusing. However, endless emphasis on those tricks guided me to impression that what was going on on stage - rather belong to a circus show than to a ballet. Another point i'd like to make - if you remove decorations, music and even costumes from such ballets like Swan Lake, La Serenade, Giselle - it will be clear to anyone at least remotely familiar with ballet what is exactly being present it - just by looking at the choreographical ornament (i'm not sure if such term exists in English). The opera in this given case was used merely as a "soundtrack" to a choreography which made me think of a comparison to a "constipated choreographical imagination" - AND I CAN'T TELL YOU HOW SORRY I WAS MYSELF IN THE FIRST PLACE HAVING ALL THAT DISCOVERED Nonetheless - a little story for a finishing line (for tutu14) and i'll be done for now: A famous Russian poet of the XIX century Alexander Pushkin (also referred often as a father of modern Russian language) - was a great admirer and frequent visitor of the ballet performances. One night a dancer XYZ that he wasn't really fascinated about was especially bad, so he gave her a few whistles (NB: In Russia, unlike in some other (mostly Western) countries, whistling is considered to be a sign of disapproval and dis-liking). Some bolding man turned to the brilliant poet and hissed at him something nasty for those whistles. Pushkin's reply was: I'd slap your head for that, but I don't want XYZ think that i'm applauding her" It is great to be back!

Hello Alexandra and many others keeping this wonderful site vibrantly alive. I’ve relocated few months ago from the Central Asian city of Alma-Ata to North America, Toronto (a girl taking private lessons from my favorite ballerina back in Alma-Ata – that is me ). The move was a great and major reason for me keeping quiet for so many months. Last Saturday I was amongst those people considering themselves lucky to attend the all-Canadian premier of the BALLET Magic Flute performed by the Royal Winnipeg Ballet. I thought I had all the reasons to anticipate a fascinating brilliant spectacle – as all the fliers had pictures of ballet characters dressed in the most unusual colorful costumes, the way it is supposed to be when one thinks of MAGIC FLUTE. I was very lucky to have attended the OPERA Magic Flute, staged in Kyrgyzstan, Central Asia back in March 2001 by a brilliant young lady from Sweden (her Russian was just as brilliant, too, I’d like to add). The impression of that performance I attended almost three years ago is still fresh, fragrant and alive in my memory – costumes, decorations, divine Mozart’s music and divine voices, great acting and dedication of the singers. It was a true celebration of divinity of Mozart’s genius in his music and of all of the best in the human nature when it arises so high up it almost reaches divinity. Could I be blamed for expecting too much when I was looking forward to yet another festive brilliant performance delivered this time by a Royal Winnipeg Ballet? The brief introductory speech delivered by the company artistic director has promised something very modern (such comments always make me wonder and wary – it sends a message that Mozart is not really “modern enough” and is better digested by “modern” people if spiced up with some bits of “contemporary culture”. Hmmm, in this case those poor souls better stick to coke and football on TV if Mozart’s operas are hard to swallow and digest for them. Mozart’s creations are perfect and fresh as they are and they WILL stay like that for ever and ever (AMEN!) – the way they were created back several centuries ago, that what distinguishes Mozart’s divine creations from so very popular and modern Ricky Martins and Christinas Aguilieras pop hits). This long preambula is just to backup my story here: after first few minutes after the show began (excuse me but to call what was going on on the stage A BALLET would be a very strong exaggeration) – using Mozart’s Magic Flute as a soundtrack and sort of as a story behind the show, it was strikingly stripped of any kind of decorations, the costumes that the characters on stage wore – were anything but those presented on the fliers and the choreography itself was so startlingly non-existent – I could figure that pirouette attitude was the choreographer’s favorite move as it was repeated endlessly by virtually all characters on stage, and numerous other types of pirouettes were following one after another after another barely giving the performers a good chance to complete each move and pas neatly and clearly (which I have always believed was an important part of a real ballet). Male corps-de-ballet wore jeans and jackets – and one would be surprised: there wasn’t much they could do in terms of performing any pas involving above-the-average technique while doing any a-la-seconds or grand jete. Nothing, virtually nothing in the characters’ costumes, choreography and the whole picture of the show was giving a slightest association with Mozart, Mozart’s music, Mozart’s era and idea of art in that period. That show was giving a very strong impression that the people who were behind it were decidedly ignorant (or maybe just illiterate) of all the treasures and delicacies which could be derived from that very bold idea of creating THE MAGIC FLUTE BALLET. Just one “great” idea of endless rear-end slapping on-stage has made me feel disgusted and wanting to leave immediately as it resembled more to a cheap circus show than to a high art of ballet and opera (or am I missing out here on those very “modernizing” parts of the ballet which were supposed to “upgrade” the “outdated” Mozart’s art “up” to the heights of “modern ballet admirers”????). The only reason that stopped me from leaving after the few minutes when the show began was that there were people sitting on my way, so I decided to wait it out and leave during the intermission. What I eventually ended up doing was just to look away from the stage and enjoy the recorded opera that was played – not to spoil the divine harmony of music and truly divine sounds of opera singers. So the bottom line here – it was a cheap trick to play: to strip one of the most complex, beautifully thought and decorated Mozart’s operas of virtually everything – its costumes, decorations, the characters on stage lacked any hints of characters and on the top of all those “surprises” – to boldly claim it to be a BALLET, whereas ballet as such was non-existent (unorganized sequences of poorly organized moves cannot be called a ballet – unless it is a so-called “modern” ballet (?). My question here is why such treasure of truly divine height as Mozart’s Magic Flute was so openly and boldly stripped of all the “magic” and sold to us as a ballet when it fact, there was really neither “magic” nor “ballet”? (Which was only confirmed by other people leaving the performance whose little conversations I could overhear on my way to metro). Is there anything sacred left?

Last week I was fascinated by the news that Mariinsky (Kirov) Ballet is coming to Almaty (Kazakhstan) for 2 days - April 10 and 11. I've got tickets for the April 11 performance. Will surely be happy to share my experience and impressions from that performance.

Thanks for writing Adrien I feel exactly the same way - pointe shoes are good for a dancer's foot (regardless of a gender) and there is more to it than just exercise - there is also a great pleasure (i believe) one experiences during that exercise (at least i had that experience when i've taken lessons en-pointe - i'm not a professional dancer, but am deeply and seriously in love with ballet and many things about it). It is also interesting that you're saying that the Dying Swan performed by a male dancer en-pointe seemed rather comical. I often speak with the ballerinas and dancers of our Opera and Ballet Theater - one of the dancers, who's 18 years old said that the Dying Swan was really COOL, but couldn't really explain why. I guess, it was the novelty that looked cool to him, not the performance as a piece to be seriously taken ( i haven't seen that piece, so i wonder if it was meant to be 'comedic', or it just happened beyond the desire of a dancer who performed it?). AND I also asked several young dancers from our Ballet if they'd like to practice AND perform some pieces en-pointe - two out of three said YES! I guess, sometime in the future, en-pointe classes for boys may be added to the ballet school programs (but no tutu-wearing! PS I loved your signature sayings!

Sorry, I misinterpreted your first reply, Mel - thought that pain might have contributed to your feeling glad that that piece went out of repertoire. So, after you've had that experience of dancing en-pointe, what are your feelings about it? Did you enjoy the moments of being en-pointe or no warm feelings remained? Would you please share your thoughts on this issue - i am very much interested in hearing men's opinions. (I wonder what were Alexander Grants' sentiments about his experience of performing Bottom????) And to take this issue further - do you believe that some classes of pointe technique may be offered to boys studying ballet at school - at their young age (vs. young men having to master it at older age than ballerinas do), or even included as a new discipline for boys in ballet schools? I realize that there is not a whole lot of ballets with roles created specifically for male dancers to be performed en-pointe, however, who knows maybe in the future there will be more of those ballets? WHAT ARE YOUR THOUGHTS????? Marianna

Merci Estelle THANK YOU SO VERY MUCH for referring me Mirella Dance site! I was absolutely delighted to browse through that beautifully done site! It seems like I will continue going through it - with a great interest. And I am very happy to see that I've finally found what I was looking for - en-pointe role for a male dancer (vs. cross-dressers men). Do you happen to know if there are any more parts for male dancers to be performed en-pointe - in some other ballets? It seems to be an un-discovered universe to me - however, judging by Mel J.'s remark - guys don't like the pain that comes with dancing en-pointe *** Here in Almaty (think former Soviet Union) we are quite deprived from getting the news and updates on what is going on in the ballet world in the Western hemisphere - books and video-tapes are impossible to come by unless one travels to US or Canada. Thank goodness for BALLET magazine published in Russia monthly - one can find articles on Western choreographers, dancers and ballets of different time periods, but it wouldn't be a full-flow of information, just bits and pieces . And, OF COURSE, THANK GOODNESS for this site which is becoming my great and much-appreciated source of self-eductation about ballet and related issues. Besides, it gave me a great oppurtinity to meet all those most interesting people like you, Estelle, and others who know lots and lots about the subject of my passion and generously share their knowledge and ideas with me and others. And thanks for your answer to my question - pointing out that some choreographers 'from here' might come up with something new in our theater here - got your point . There are a few pieces (so-called ballet miniatures) created by our ballerinas/dancers. However, we seem to currently lack some real big choreographer who'd have a capability to create a new ballet which would become another masterpiece. And our dancers are starving for some new ballet(s) and some 'fresh air/fresh person' in the theater. So my question remains current, i'd say Salute, Marianna

Oh, is that the "Midsummernight Dream' THAT "Dream" was about? I guess, I could bear a sight of man dressed like a donkey (as long as the gender remains unchanged) and pointe-shoes used as an imitation for hooves - THANK YOU MEL That is what I was after! Naturally, there is no way for me to see that "Dream"-ballet live (i wonder if there is a video-tape of that ballet? I would LOVE to see it!!) Boy, I wish there would be someone OUT THERE who could come over here to Almaty - just for a difference - to create a ballet like that!!! Our folks would love that!!!!! (I mean the dancers) Changing the topic from pointe-shoes wearing male dancers: how realistic, do you think would that be to try to get in touch with someone from US/Canada/Europe who would be willing to work in Central Asia - to create something new, or to stage something that was already created, but NOT classic ballet? (I can't count how many Swan Lakes, Don Quixotes, La Sylphide and Les Sylphides i've seen in our theater here - not that I am fed up with those pieces, but variety in a ballet diet wouldn't hurt either ) Thanks and cheers~*~* Marianna

Courage, mon cavalier! Words "ballet" and "usual" don't mix at all! So, that statement "boys and ballet don't usually mix" shouldn't even be an issue for you Everything about ballet is UNUSUAL AND VERY EXCITING! Also, there will always be people who 'get the ballet' and those who 'don't get it'. The great news is that you are the lucky one to belong to the first group (believe me - there are always enough people to keep you a great company worthy of that of yours), and don't worry about those ignorant ones - they don't really know what they're missing! "Dainty activity of the weak" for your gender involves quite a bit of lifting and carrying - DONE VERY GRACEFULLY - of species of my gender, who don't always resemble a swan feather So, this is another statement that doesn't make sense, and therefore must be sent to trash. Reading through the rest of replies sent to your post, cavalier, I wish there would be Paradise-country on this earth where ballet dancers would be admired and liked by absolutely everyone - sadly, no. Not even in Russia! (I can't talk about other countries, as i'm coming from the former Soviet Union myself). Communist government WAS abusing ballet dancers back then, sadly. It was some kind of illusion of 'privileged life' for those dancers, who were however, were kept on quite tight and quite short leash by communists and KGB (memoir-book written by the famous and worshipped Maya Plisetskaya, called "I, Maya..." is quite descpritive of ballet dancers life during communists' time of our history). A bottome line here: In spite of all the tough and super-tough moments in-side and out-side the ballet world, there always have been and always will be plenty of great REAL boys in the ballet world to keep you a company that you'll enjoy (and some great girls, too! Cheers, Marianna

Thank you for all the referrals on INet i've got about male dancers performing en-pointe. It looks like I've been dreaming of impossible: what I meant were not actually male dancers [cross]dressed as female ones, but male dancers doing something like Mel J. has mentioned in his reply - a 'manly' piece, made for a male dancer, not guys 'stealing' roles from gals. I remember, reading through the Toronto Ballet section a couple of weeks ago, I've ran into Paquita's description of a pre-performance 'ballet talk' given by Alexander Grant (not quite sure about that person's first name, but his last name was Grant). He is a retired dancer himself, as I figured from Paquita's post. So, in his 'ballet talk' AG mentioned that he had a role to perform en-pointe in a ballet called DREAM. His role's title was 'Bottom'. Two questions here: #1 - (being a non-native English-speaker) I know there are at least two meanings to the word 'bottom' in English language: first one - is a lower part of something; and second meaning - is a part of human body. To spare myself an embarrassement from talking of something I wouldn't, would it be my native language - did the AG's role title mean either of those two things I've just mentioned, or NEITHER? Question #2: what kind of role was that in "Dream" - another bit of cross-dressing, or 'real man's' staff? Will very much appreciate any word on that. As per Trockaderos'/St.Pete dancers - can't bear the view of guys doing cross-dressing, esp. in ballet (hope nobody's feelings will be hurt by this remark, I don't mean to). Still, would love to hear about that role of Alexander Grant in "Dream" - if someone would happen to know something about it. Thanks again ~*~* Marianna

Many thanks for referring me to the NYC Ballet site, flo - it was a pleasure to look through it! Here in Almaty, our ballet repertoire is 99% good ol' classics, which I absolutely love, however things like what NYC Ballet performs is something very much craved as by us, the audience, so by peformers, I'm sure! (it's a bit strange to me that Maria K. wouldn't have her 'own, personalized' site - from this end of the world (Eastern hemisphere, Central Asia), i don't have too many chances to catch her performances on TV, unfortunately). Thanks again, Marianna

I've been reading through that very taking conversation about the same-gender PDD's, and reading specifically about male-male duets, when I realized that for a while I really really wanted to learn more about male dancers performing en-pointe. I've heard that there is(are) a trouppe(s) in Europe, and that there is a male ballet in St.Petersburg which has some pieces performed en-pointe. I would very much appreciate if somebody could tell me the names of the dancers, or ballet trouppes, or even refer me to some sites on internet with more information/images on this topic (is technique for male dancers any differnt from female dancers? what it takes for a male dancer to master en-pointe technique?). I WOULD LOVE TO KNOW AS MUCH AS POSSIBLE ABOUT THAT! I consider this an extremely interesting and exciting thing - as pointe shoes are very much associated with female dancers, however, I realize it takes a lot of strength and stamina to dance en-pointe, and so there is nothing 'girly' (or 'mushy') about dancing on pointe shoes. Any male members of this site who happen to have the experience of pointe-dancing? anyone who happens to have seen such performances? TELL ME PLEASE. Marianna

A while ago (before I was lucky to discover this site) I've read a short article about Maria Kowroski in some American magazine, also there was a gorgeous black and white photograph of her. Would love to read more about this dancer! Since now i am in that lucky position to get in touch with many others who know a lot about ballet, I'd like to ask if anybody happens to know if this ballerina has a website? Or ANY website that might have some information on that dancer and/or photographs of her? Thanks! Marianna

Boy, I AM upset that I haven't noticed this TALK ON NUTCRACKERS much earlier!!! Got an excuse for this tardiness - being a Russian living in Kazakhstan - Russian Orthodox Christians celebrate their 'old-style' Christmas on January 7 and their 'old-style' New Years on January 13. So, I am not that late (I wish... :rolleyes: ) Anyway, I would love to give my little contribution on how were NUTCRACKERs in Almaty (Kazakhstan, Central Aisa, former Soviet Union). Unlike in USA and Europe, in the former Soviet Union countries performances of Nutcracker do not usually begin until winter vacation starts at schools - closer to the end of December (that is PAST the traditional Catholic Christmas on December 25). There were eight performances of Nutcracker in the Almaty State Opera and Ballet Theater (by the Almaty State Ballet): one Dec 27 and 29 (i've attended both of those performances) and then six more performances - daily starting January 4 through January 10 (skipping Jan 6). Since in January all the performances were starting early - at 0500pm (usually they start at 06:30pm), I have seen only one performance on January 4, because I couldn't run away from work. This year there were four dancers in the Almaty State Ballet who have had their premiere performances in those Nutcrackers: Sophia Galpern (Jan 10) and Natalia Zatylnikova (Jan 9) as a grown-up Marie; Alexey Safronov and Dastan Chinybayev as Nutcracker-Prince (AS - Dec 29, Jan 4, 7; DC - Jan 5). Almaty Opera and Ballet Theater Nutcracker was made, based on Mariinsky's version, choreography of Vasily Vainonen. It is a very traditional and very enjoyable version - to me. What I appreciate a lot about the version they show in Almaty O&B Theater is that it lets us and dancers to enjoy this 'classic-of-classics' piece - for dancers to show again what they are capable of, performing this ballet, and for us - to experience that magic, 'sprinkled' at us by performers without any artificial special effects involved - only their charisma. I've seen Leila Alpieva and Dmitry Sushkov to perform as grown-up Marie and Nutcracker-Prince on December 27 - both are perfectly great technically AND are very generous with "sprinkling of magic" telling us the magic story. December 29 performance was a premiere performance for 18 year old Alexey Safronov as a NutCracker Prince. His partner as a grown-up Marie was Kuralay Sarkytbayeva - very romantic, with long 'singing' arms and legs - her beautiful arabesques en-pointe are still flashing in my memory. And moments of "magic sprinkling" became 'real' during the Sugar Plum Fairy part (for some reason, here we don't have Sugar Plum Fairy as a separate character - it has always been done by the same ballerina who would perform Marie). Alexey is a very good partner (always), and I can't wait to see this young dancer with obviously promising and glorious future to 'grow up' and become as 'magic' as his more-experienced partner Kuralay (it is her second season as a grown-up Marie). So far I have deepest admiration for his most dedicated and devoted attitude towards ballet. Would love to also share my great delight about the Oriental Dance and Chinese Dolls Dance. Zaure Umbetkulova as a lead dancer in the Oriental Dance, performed by three female dancers, is so glowing, mysterious, almost sensual yet perfectly tasteful, performing her part. There is also something about her style that I would describe like: when she dances, I almost hear her speaking to us in some beautiful unknown language, that we are not capable of understanding yet. (hope this last bit of my description would make sense to at least some ). And the Chinese Dolls dance in the third part - Aigul Jumagalieva as a girl-doll and Yerjan Doskarayev as a guy-doll. Both dancers are of Kazakh ethnicity, which belongs to Asian race. Which makes the perfect Chinese Dolls!! However, with their technical and acting brilliancy, - even if they were born blue-eyed blondes, say Estonians - you would LOVE them as Chinese Dolls!! They are so adorable, I'd love to take them home with me, put them on my bookshelf and watch them dance FOR ME! There is ALWAYS a HUGE OVATION to those two - after the dance itself AND in the end of the performance - when all the characters go through the stage to say 'farewell' to Marie. Pas de trois (the Little Shepperds' Dance) - is always such a thrilling experience: it is traditionally performed by those fragile 10-12 year old ones, with their tiny bodies and their thin, sometimes a bit unsure, arms and legs. It always is really touching experience for me - to watch those little ballerinas-to-be to fight their fear of being on stage for the first time, being nervous, being unsure how good they'll do - and being GREAT in the end!! Have always admired a little gentleman. taking care of this two partners in this pas de trois The final 'sweet topping' for this dance has almost always been a big ovation and shouts BRA-VO!! BRA-VO!! - out loud with those tiny voices of the pas-de-trois'ians tiny classmates from the Ballet School! I've always admired support between those kids (vs. jealous silens after their classmates perform). (another thing i enjoy - to sit close to those tiny little dancers who wouldn't be dancing that night, and secretly listen to their chat and funny comments about their classmates performing on stage - OFTEN funny, never cruel! Bless their little big hearts! FINALE - The Waltz of Flowers (The Rose Waltz) - is always triumphantly beautiful and romantic. Ballerinas are so feminine, male dancers are such gentlemen (a beautiful dream, celebration of the pink-tutu'ed contrast to reality - something I deeply appreciate classic ballet for). Corps de ballet gets to show off their best in this part. As a bottom line, NUTCRACKER to me personally is more about "for the very first time" performances than about Christmas - first time for those little cute kids to do their little mice and rats part in the first part of the ballet, first time for those older kids - to do 'kids at the Christmas Eve' part. And, of course, first time for those girls who are given to perform the little Marie's part. This year they both were glorious (just like every year i've been watching Nutcrackers in Almaty Ballet)!! Graceful, perfectly composed (think - it is their FIRST time to perform on stage such an important part!), REAL ballerinas, doing their parts in a BIG REAL BALLET. My usual emotion, wathing those little 'diamonds' to shine and glow on stage alerady - at such early age - will we lose them to bigger ballet companies in Russia or abroad, or will they choose to stay in Almaty when they grow up? (For some unknown reason, names of those little ballerinas are never provided in the programs with dancers' names, so for my big regret, I can't share that bit of information with you. ) Oh, and my very first ballet performance that I've attended and fell hopelessly in love with ballet afterwards, WAS A NUTCRACKER in late December 1999. The 13 year old ballerina who did little Marie's part then, had INCREDIBLY 'light' legs - effortlessly bringing her leg almost to her ear a la-second, while standing en pointe AND holding it FOR EVER - it would've seemed like a truly unreal (?sur-real?) aplomb for any adult ballerina! (by the way, I don't see her anymore in any Ballet School or Theater performances - where is she now? In Russia, Riga or somewhere else? If you happen to see a VERY light-legged ballerina whose first name is ASEL', that must be her!). Late (Orthodoxal) Season Greetings to All! Marianna

Yes, carbro, you are very right - it is often reminded to young ballet students at classic ballet schools in the former Soviet Union (not just in Moscow or St.Pete): "... aaaand SIIING WITH YOUR ARMS!"; "... and take a breath with your arms" (esp. when doing preparacion);"... and your right hand says 'thank-you and good-bye' to your left hand" (while doing port-de-bras); "think of your hands like of a flower petals - start opening your arms with your fingertips" (while opening arms from the first and third positions to the second). I happen to be a lucky one taking classic dance lessons from a ballerina who graduated from Vaganova's Ballet school AND a graduate from a Moscow Ballet School (currentely retired ballerina) - and I hear a lot of those 'directions' during our lessons. (it took me a while though, when I was just starting my lessons, to figure out what it meant EXACTLY "...and take a breath with your arms" I guess, when I've finally figured it out - that is when I've become really addicted to those lessons). So, I guess, that concept of "sing with your body" in Russian dance schools must be coming from BACK THEN...

In this post I will review briefly THE ALMATY STATE BALLET MALE DANCERS (JANUARY 2003) DMITRY SUSHKOV - graduated from Almaty State Choreography School. This dancer has the longest experience of performing Prince's parts in spite of his relatively young age of 27 (speaking of the principal male dancers performing on the stage of Almaty O&B Theater). His romantic, elegant and manly style reminds me of Vladimir Vasiliev - that celebrated principal dancer from Moscow (Bolshoy Theater). On the list of Dmitry's parts are Siegfrid and Rotbart from the Swan Lake, Desire (Sleeping Beauty), James (La Sylphide), Albert (Giselle), Khan Ghirey (The Fountain of Bahche-sarai), Conrad (Le Corsaire), Prince-Nutcracker (Nutcracker), Barber Basile and Gypsy Dancer (Don Quixote), Prince Rezanov (Juno & Avos'). Dmitry has a powerful yet really elegant style. Tall, handsome (excuse me this cliche' but he is!) dancer, Dmitry mastered that 'noble danseur' stage manners that has been making me secretly wonder WHERE did he learn that - growing up as a dancer during Soviet era? Another thing that fascinates me along with Dmitry's beautiful dance techinque and acting talent - his feet. Beautiful feet are really something that ballerinas are usually admired for, but the elegance and beauty of that dancer's feet is my secret envy object. (His James' feet are so light-speed fast and tireless when he's doing his entrechat-six in the Sylphide, I'm going green with envy! ) His Basile in Don Quixote is hilarious (when I saw Baryshnikov in Don Quixote with Cynthia Harvey (on the videotape, OF COURSE! - again, I thought how much Dmitry is like young Baryshnikov - brilliant, funny and dancing so effortlessly. And another thing - that style, I believe Baryshnikov and Dmitry share, the charming Russian man's style. When Dmity does the Gypsy Dancer part in Don Quixote - it is another time to enjoy his dance and style: wild and life-loving, like all those gypsies. I guess it will worth to tell some more about Dmitry when I'll be going through some particular performances. Some new kids on the block: ALEXEY SAFRONOV - an absoultely fresh face on the stage. Graduated from the Almaty State Dance School just in June 2002. Because of the desperate lack of Princes in Almaty (anyone has a spare Prince to forward to Almaty?) - he was immediately selected (and collected) by the swan-girl Kuralay Syrkytbaeva. They performed their first Swan Lake together on Dec. 15, 2002. Advantage of having a young strong body performing that marathon-ballet was obvious. Alexey has a great and glorious road ahead of him and I am wishing him good luck with all my heart. He is a very hard working person, and I'm sure that he'll become a great dancer (if Almaty won't lose another Prince to Moscow or Europe, keeping my fingers crossed!) DASTAN CHINYBAYEV - another fresh face in the theater. He also has just graduated from the Ballet School. On his list so far - pas de trois from the Swan Lake (a beautiful company to the delicate and delicious Aliya Sapugova); and he also performed his first Nutcracker-Prince with Leila Alpieva on Jan 9, 2003. Dastan has that innate Prince's posture and on-stage manners - that always delight me. Another very prospective dancer and a very hard-working person (I can't resist but admire it in all those 18 year old ones. I guess you'll understand). YASSAUI MERGALIEV - he shined as a Joker (Gester) in the Swan Lake on Dec. 15, 2002 (another premier peformance!). Again, what a bliss - to have that young strong body capable of all those sky-high leaps (add a bonus - extreme flexibility to that). He tried to be funny, too, but that will come with time - when that young dancer feels more confident on stage. Another great hard-working 18-year old dancer and person. I will gladly continue a gallery of our dancers in the nearest future. I hope it was interesting to learn a thing or two about our dancers in Almaty State Ballet. Cheers and a presto, Marianna

Hi Leigh! And nice to meet you! Thanks for letting me know right away what the real facts of life are ( I mean the gender of the person behind that a bit uneasy to interpret name ) Also, thanks for refering me where I could find Jeannie. I guess, if she writes about Mariinsky from St. Petersburg, it will be unlikely she'd come visit us in Almaty (it is about 6-hour flight). However, if she happens to do so - I'll be more than happy to be here guide here! Cheers, Marianna

Greetings to All from Almaty, Kazakhstan! Here is a brief review of the lead dancers of the Almaty State Ballet. I will break down the list into FEMALE and MALE dancers as it may not be always easy to figure out the dancer's gender by their names. The first name of a dancer will be given first, and the family name will be given second - to make it easier to perceive their names. ALMATY STATE BALLET - JANUARY 2003 BALLERINAS (PRIMAS AND CORYPHEES) KURALAY SARKYTBAYEVA - a natural-born SWAN-BALLERINA. Graduated from the Almaty State Choreography/Classic Dance School. After I've seen her in Swan Lake as Odette/Odillia for the first time, it took me a while to perceive her as a 'just a human girl' in Giselle (as Giselle) or Nutcracker (as Marie/Claire). Her fragile delicate body with most graceful "singing" (as we say it in Russian) long arms and legs forced me to think of her as more of a real Swan, than of a human princess-turned-swan (even when I meet her in real life! . Kuralay's style in the Swan Lake is a mysterious and beautiful mix of being a really fragile Swan-Princess Odette, yet that Swan Princess has some of those deeply hidden "magic powers", which become more noticable when she performs Odillia's part - and Prince is better be careful with those powerful. ALMA ASKARBEKOVA - graduated from the Almaty State Choreography/Classic Dance School. I view this ballerina as THE MOST ROYAL DANCER AND THE MOST MANIPULATIVE ACTRESS of the Almaty State Ballet. Her Odette is waiting with a royal patience to be returned to her reign as a human by an earthly man, and it is not important to her that he is a Prince (he is just an earthly man). She is a Queen Swan, not a Princess, and her "magic powers" are world's top. Her Odille is villain, but her charismatic and powerful performance makes you love her, not hate her. Prince Siegfrid MUST be VERY careful with her Odette, let alone Odille! If anyone has happened to see the Soviet-era ballet Fountain of Bahche-Sarai (Fountain of Tears) - or to read Alexander Pushkin's poem by which the ballet was created, you may know the story of Zarema - a Queen-Wife of the Oriental Khan's harem. The Khan invades a castle in Poland and brings back a beautiful Polish princess Maria (after he'd killed Maria's father and her fionce' Vatslav). Zarema's heart is broken by her beloved and admired husband, who's turned away from her for Maria. The moment when Zarema realizes her husband is not hers completely anymore - is ALWAYS made by Alma Askarbekova SO breathtakingly powerfully tragic, one feels the time stopped in Zarema's life, and maybe in ours, too? Alma's powerful capability of forcing the audience to follow and feel Zarema's pain always feels like GREAT MIRACLE! Other parts the Alma is performing in the Almaty Theater - Myrtha in Giselle (watching her, I could believe that she was capable raising those souls from the dead - eerie!), Lylac Fairy in the Sleeping Beauty (here her powerful and royal style makes one doubt if she is just ONE of those fairies - she appears to be a Queen of Fairies - and the evil Fairy Carabos is better off not to stand in her way). LEILA ALPIEVA - graduated from the Almaty State Choreography/Classic Ballet School. First time when I've seen Leila - it was Kitry in Don Quixote (the main female part, I'm not sure about the English spelling of that character's name). Leila's most brilliant acting gift made me think for one quick second - "oh, what a comedy - it is NOT a ballet, for goodness sake! It is just too hilarious and humorous for such a serious art" Silly, naive me - Leila made me hold my tears BACK SO HARD when her Giselle lost her mind and died in her mother's arms, AND she made me try even harder to fight my tears when her Sylphide was dying - IN SUCH PAIN - losing her little delicate wings, in James' arms. I HATED HER PARTNER FOR CAUSING HER SO MUCH PAIN AND BEING GUILTY OF HER DEATH!! LITERALLY! (Well, the partner, is a nice guy in a real life but being taken by the moment SO MUCH I completely forgot all that - I just hated that Dmitry-guy Talking of manupilating people! On the top of that Leila is blessed with a superb dance technique, which never fails her (it is there, always, so much - you forget about it - as she does the most difficult pas' so effortlessly!). And if her partner is not there to hold her in the right moment (a big OOPS!) - a confident queen's smile, blessing everything around, is on her face! Then I feel greatful for another lesson taught - don't break down, hold strong! GULJAN TUTKIBAEVA - a reliable and strong ballerina, her excellent technique and persistance in every move she does on stage technique-wise are her best points, which I admire. AIUGUL JUMAGALIEVA (coryphee) - graduated from the Vaganova Ballet School, St.Petersburg (Janna Ayupova's class mate, they're still friends!). A petit, incredibly cute ballerina, whose style I would describe as 'always little magic in everything'. I guess, Vaganova would've been proud by this graduate of her Ballet School! On Aigul's list - Little Swan in the Swan Lake, A Chirping Bird Fairy in the Sleeping Beauty (I'm not sure of the English language equivalent to this part, but hers is that cute solo done to the flutes, imitating a little bird's chirping); Dancing Doll and Chinese Doll in the first and last parts of the Nutcracker; Cupid in Don Quixote (seeing her perform that cute, not-from-this-world character made me get brave enough and ask her to give me private lessons. I've sensed she wouldn't laugh at me - a 27 year old, 5' 11'' girl, dying to learn 'how they do that en pointe' . In the Fountain of Bahche-Sarai Aigul does a part of a Silver Bell-Dancer Girl. As a bottom line - THERE IS ALWAYS A BIG, HUGE OVATION TO AIGUL'S SOLOS ON THE STAGE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (this long ) Another true miracle, brought to us by ballet, that our stage is blessed with. ALIYA SAPUGOVA (coryphee) - graduaged from the Vaganova's Ballet Academy, St.Petersburg. A delicate, feminine, beautiful ballerina, with beautiful manners on and off stage. When she dances her part in pas-de-trois (Swan Lake) - you feel that joie de vivre (sorry if I mis-spelled, French is not really 'my' language), she shines with and generously shares with everyone around, while dancing! Ballerinas like Aliya make little girls want to tell their Moms they WANT TO BECOME BALLERINAS. Aliya's precise technique is always a GREAT pleasure to watch - her arms and legs always "know" exactly what they're doing, and what it means "translated" to the human language - joy, pain, sadness, happiness!! This must be that Vaganova's academy's style - an academic style as they say it in Russian language. On Aliya's list - Queen of Driades (Fairies) in Don Quixote (III part); Pas-de-trois and Little Swan (Swan Lake); Kitry (Don Quixote's main female part); parts in the Balanchine's Serenade and grand pas from Paquita. At this point I would like to stop (hope, it wasn't too tiring to read. I wish I could put the photos along - very soon, I hope, I will be able to do that!). I will continue with great pleasure in my next post - to tell you some more - on the Almaty State Ballet male dancers. A presto, Marianna

Dear Leigh and everyone, thank you for your interest in my post. And a SPECIAL THANK YOU! - to Leigh for her words of support and inspiration! I will continue my "project" with even bigger drive and satisfaction from it. Last night I spoke to one of the ballerinas with whom I am SOO lucky to have become friends (it is like becoming a friend with an angel - it feels like it to me, truly! . We went together through the list of the ballets I provided in my previous post. It turned out I've missed a couple on my list. There are two more ballets I should have mentioned: # 15 on the list must have been the Sleeping Beauty (I must've missed this one because they don't have it as often as the other ones). #16 Serenade (chor. by Balanchin, music by Tchaikovsky). Both are beautiful (and very well known) ballets and absolutely must be mentioned on my list! Next threads, I'm planning to post, are going to have short reviews of the lead dancers of the Almaty State Ballet; as well as the "crying lists" of mine - our Kazakhstani ballet dancers who'd left for Russia, Europe, USA - to perform or teach classic dance there (i will always be crying in my heart over those "lost stars"). A presto, Marianna PS Leigh, you've mentioned someone (Jeannie) who might have visited Almaty. If Jeannie is someone who may be visiting here in the future, I'll be more than happy to meet her and take her around Almaty - to the theater, AND to our most beautiful mountains (which some folks compare to Switzerland