Drew

Doubtless writing a dictionary is what Freud would call "an impossible profession" -- hats off to those writers (male and female) by all means. But I'm still just fine with debating the choices dictionary writers/editors make. Discussions that playfully, seriously, ironically or ambitiously make the case for and against! Arguing about words is one of things words were invented to do. And if those words speak to larger realities, then all the more reason for debate--however playful or intense. In the case of this thread I'd have said often playful. As for "cygnet" -- Is it pissing in the wind to mourn a word dropped from a small dictionary for presumably sensible reasons? Probably. But who if not ballet fans can appreciate the specificity of "cygnet"? Why not mourn (if one wishes)...if only with a wink?

Ahh...I didn't remember the mention of singers. I still think that, at the least, the editing of the film is a problem here...at least I was bothered (as is pretty obvious I guess).

I too am unfamiliar with his character, and obviously some dancers hated him. Hated. But Evgenia Obraztsova for example --the great Vaganova trained ballerina he brought from the Mariinsky to the Bolshoi, has spoken very warmly of him in interviews and, responding to people who had suggested his injuries were fake, spoke about visiting him and seeing injured skin etc. But I imagine now that Urin, who openly dislikes Filin and has gotten rid of him as company director, heads the Bolshoi theater, dancers are not exactly going to line up to talk publically about how great Filin was. Repertory? In an interview translated by Ismene Brown, Urin himself has praised the Possokhov Hero of Our Time--a production that Filin was instrumental in making happen. Filin also brought Maillot to choreograph a Taming of the Shrew at the Bolshoi that is something of a hit and has garnered very good reviews--with raves for some of the performances. (It will be an HD film broadcast this year.) Otherwise, as I understand, Filin has brought international full length hits to the company, ballets that have been around a long time and are not all my cup of tea, but that certainly showcase the dramatic talent in the company (Cranko, Neumeier). And he also brought Balanchine's Jewels. Were these the best choices for the company? Well each of us may have an opinion, but it seems to me to signal some desire for the Bolshoi to look outward. Which has good and bad aspects perhaps. But, in my opinion, not all bad. Presumably dancer resentment of his casting includes the fact that he brought several new dancers into the company including Smirnova whom he fast-tracked to stardom and Obraztsova. I think these are great ballerinas (Smirnova still developing of course) and the Bolshoi has always occasionally imported Vaganova trained and/or Mariinsky dancers --which these dancers are. So, to my mind, that is not inconsistent with Bolshoi tradition. Zakharova, who was already a star when Filin arrived, was brought in from outside as well, trained mostly in Kiev and danced with Mariinsky. He also brought Hallberg an American (which I assume was controversial--certainly Tsiskaridze complained) as well as several Russian dancers from outside the Bolshoi. I'm not astonished Bolshoi dancers resent this, but I personally like a number of the dancers he brought in and he has also promoted and featured Bolshoi trained, in-house dancers. As for the concern that the company's style might be being diluted (which I've heard expressed by fans)...that was happening before he became director of the company. I tend to think it was bound to morph over time, however much I may lament that no-one dances like Vladimir Vasiliev anymore. I fear I sound like a special pleader for Filin--so I should say I know nothing about the ins and outs of how he ran the company day-to-day before he started being harassed with slashed tires and prank calls, let alone before he was attacked with acid. But there's a kind of vilification of Filin that really troubles me too. It's not as if any of his recent predecessors in the job lasted more than a few years, and indeed Genady Yanin was prevented from taking the job at all by an ugly campaign of sexually explicit photos (usually described as involving someone who "resembled" Yanin). So, really, coming from that world, what should one believe? That Filin was a bad guy? I tend to think he was probably an imperfect guy in an unspeakably bad situation. But I can't say I know either.

I'm not sure we are talking about the same part of film--I'm thinking of a quote towards the end of the film where you heard his voice but didn't see him and he was saying quite emphatically that from now on, only the best dancers for a role would dance, no more influence of money or politicians. An admirable goal--I hope he achieves it. But in the context of this film I think that is insinuating the role of money and politicians had flourished under Filin. I myself wouldn't be surprised if it had, but don't know that anyone has shown Filin was the central problem. Perhaps Urin didn't mean to insinuate criticism of Filin, but the way the film is edited it's hard not to read his words that way...I also don't think Urin is careless about what he says. If I rewatch the film, then perhaps I will get better sense...Not sure I have the stomach for it though.

I know this isn't high on the list of the world's troubles, but gee...way to ruin a great once-in-a-lifetime moment for two different women. Hope they both can run with the publicity.

I also found this film quite compelling. And I appreciated its attention to the Bolshoi's complicated brew of theater-politics and politics-politics. Urin comes across as an extraordinarily tough figure and seems almost like a character from a Russian novel in his levels of sarcasm and willingness to go at his enemies--mostly Filin, but not just Filin...notice his account of the music director's departure. As I recall that departure was viewed as a huge loss to the Bolshoi. Anyway, Urin makes for a great documentary subject. But I'm not sure the extent of his cooperation didn't also indirectly contribute to what seem to me the film's flaws. Flaws? Well, I found it somewhat limited in perspective. It emphasized casting issues, but made no mention of repertory issues or Filin's role there--as if casting were the only thing at "stake" in the company's leadership. Yes, casting was supposedly Dmitrichenko's issue, via Vorontsova, but the film seemed to be offering a wider account of the Bolshoi and in that account repertory matters. Given the film's topic, too, I think the interview subjects could have included one of the dancers whose careers Filin has promoted. That group includes dancers within the Bolshoi, but also dancers he hired. We heard Allash complaining that the dancers Filin hired were "not as good" as Bolshoi dancers "obviously"--I'm quoting to underline that she didn't say their style was alien to the theater but that were not as good--and yet we saw no interview with one of those dancers. (I'm thinking Chudin, Kretova, Smirnova, Obratzova, Hallberg ...) Did none of them agree to go on camera? Given the film's focused approach I underline that I am only thinking one could have been included. It would have perhaps clarified the issue of factions in the company if nothing else...They do show Filin talking in English to Hallberg, but with no further explanation. There was also no mention of the Bolshoi's internal investigation of the bribery issue, an investigation conducted under Urin's leadership, which Ismene Brown has reported on...She reported that it more or less cleared Filin of financial chicanery, while putting in place some reforms suggesting there were problems with the system. While no-one would be inclined to trust an internal investigation 100%, no one could accuse Urin of wanting to help Filin either. Towards the very end of the film, Urin was quoted insinuating that casting had involved bribery, as he announced that that would never happen again. Well, why include those insinuations, but not mention the investigation? "No easy villains, no real heroes..." Canbelto wrote. Sure. But I agree with Filin when he says Dimitrichenko "crossed a line." Hiring someone to beat someone else up, which is what Dmitrichenko admitted to, is obviously not just ugly theater intrigue--even allowing that one believes Dmitrichenko when he says he didn't know acid would be involved. (I'm not sure I do.) I do not agree with what Filin went on to say--that crossing that line makes Dmitrichenko "not" human; I'm afraid it makes him all too human. But I can understand Filin's not-so-suppressed rage. Even if "all" the characters in this story are flawed, the flaws are hardly symmetrical.

Seriously adorable...

You may have already seen this on the website, but in case not...I just learned from an acquaintance going to Baden Baden and confirmed online that Lopatkina is out of Corsaire. Somova as Medora on the 26th (Batoeva as Gulnare)... The other Medoras are Tereshkina and Kolegova.

I had never seen this. Just watched it now--well fast-forwarding through most of the non-Kirkland bits, though I'm glad those two jugglers found a humane solution. Thanks for posting.

I agree that Raymonda seems a potentially good temperamental fit for Somova. I would be happy to see her. But...casting zen as I say. (Well, not as regards Lopatkina dancing opening night...I would have to be the Buddha reincarnate to pull that off.) For all those who love the 'Vaganova' upper body in Petipa, a short video I enjoy a lot -- Lezhnina in Pacquita. For all those who don't, at any rate it will give you a very good idea of what I would be sad to see lost to ballet tradition. In fact, my problem with the Mariinsky is not that they still dance like this, but they don't--at least not as much as they used to:

I wanted to add as a coda to my comments above that the subscription office was very helpful to me just this week when I was buying additional tickets for later this year in addition to my fall 'subscription.' One could say "that's their job"--but anyway, I am happy with the way they did it.

I had watched the Grand Pas Classique video when Natalia first posted and had a similar reaction to Helene. Wasn't crazy about the adagio in particular, but Somova certainly didn't seem to be stumbling through her variations and coda. I found her more charming in Little Humpbacked horse, and if she does dance Raymonda in D.C. am hopeful some of that charm may come through. Sarafanov--I wish HE were coming with the Mariinsky!! Coda in particular I loved. (Who knew I'd become such a fan? The first time I saw him I was bored silly and not shy about saying so on the internet. For my own ballet going, I have tried to draw a moral from that story. Though I have to admit there are dancers I have never much liked no matter how often I saw them.) I know he is with the Mikhailovsky now...too bad for the Mariinsky.

Thanks for your post about Legend of Love. Also: I saw some video of Shakirova's Kitri--I think you are lucky you got to see that performance live. I find that going through border patrol even when the political situation is not fraught can be kind of nerve wracking! Glad you got through smoothly.

Regarding the prize...the Mariinsky website describes the Hope prize as a prize for a debut--not a prize for a young dancer--and Somova was making her debut in Raymonda. The language of the magazine itself seems unquivocal in its praise for the performance--"das sensationelle debut" is what Tanz called it, not, say, promising. http://www.kultiversum.de/Tanz-Aktuell/die-hoffnungstraeger-alina-somova.html Doesn't mean anyone has to like her dancing of course --or that Tanz is gospel! For myself, I am trying to be rather zen about Raymonda casting--except that I do very much hope to see Lopatkina ... Edited to add: Raymonda is a grand company ballet. Beyond the ballerinas, I am also very much hoping to see Batoeva and Shapran in key solo roles! Ivannikova maybe too. (She is not on track for 'stardom' or anything, but I have enjoyed her dancing in the past...)

That's a great clip--thank you for posting.

A ilttle closer to Feb dates (when my work situation is solidified) I will be in touch ... I have tickets for 4 performances but am not sure I will be able to use all four. But will very likely be there for Friday/Sat...

Barring unexpected disasters, I will be there for 3-4 performances...

Just last night watched a recording of Royal Swan Lake w. Núñez--which for some reason turned up "On Demand" through my television's cable company--and the Cervera/Morera Neapolitan dance was one of the very best things about it...

The Fathom events website doesn't list the Royal Ballet...just the Bolshoi. I'm not a critic, but a fan -- and I also have had a lot of trouble finding out about the ROH broadcasts in the U.S. Until I used the link posted above by Katetimeperley, I would do google searches and they all turned up information about other countries. I'm definitely looking forward to catching at least one of the live broadcasts now. (Would have liked to see Hayward in Nutcracker...) As I recall--I think Volcanohunter posted this in another thread--Frankenstein may not make it to U.S. (even the east coast) because San Francisco ballet has the rights. That's a disappointment.

This sounds wonderful, but I think I will have to try to see the repeat program on weekend. Tuesday evening not the best...

Welcome to the board. You will find many fans of the Mariinsky and the Bolshoi on this website. And at least a few who have been attending ballet for 30+ years...

Impressed by all the dancers, but I can't resist... Ekaterina Maximova and Vladimir Vasiliev--my own all time Bolshoi favorites. (One arm? no problem); start at around 3:15 to cut to the lift:

I was glad Novikova mentioned Hallberg as well. Marcia Haydee and Egon Madsen in the Stuttgart's original production of Dame aux Camelias are both absolutely seared into my memory as among the very greatest dramatic dance performances I have ever seen. But I have tended to stay away from video of performances I have loved in the theater because I worry the video image may come to "replace" my few memory-images of the live performance...and dramatic impact/effect live in the theater is, in any case, somewhat different from what one gets on video. But I'm glad Haydee, at least, is has been recorded and at some point I will probably want to see the recording of the performance with Liska.

"Torch lift" seems like a perfect name.

I must admit that if I were in NY, then I would run to see this gala... Would be interested in hearing reports from people who do attend.