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Inga

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About Inga

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  • Birthday 07/20/1976

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan
  • City**
    Moscow, Russia

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  1. Thank you, Leigh Witchel, for you review! It seems the dancer you asked about really is Nelly Kobakhidze. She looks like you described, and she is a person who can attract attention even in small role. She was born in Georgia, like Nina Ananiashvili. She began to study ballet in her native Tbilisi, after some time moved into Moscow ballet school. In 2001 she was graduated from the school and joined Bolshoi Ballet. In Bolshoi she danced small roles like Tenderness Fairy in The Sleeping Beauty, variation in Raymonda dream (I wonder if she danced it in USA?) and so on. Her main achievement is leading role in Les Sylphides, and, last season, solo roles in Balanchine’s Concerto Barocco and Yury Posokhov’s Magrittomania. In galas she danced pas de deux from Giselle and Raymonda. She attracted attention of Moscow audience by her musicality, charm and lyrical qualities. She was noticed even when danced in the corps. She seems to be intelligent dancer. Her only problem is, as it’s not unusual with thin and long-limbed dancers, she sometimes have technical problems. But she is young, so if she’ll be able to cope with big roles, we’ll have a ballerina of highest level.
  2. Bolshoi breezes through 'Quixote' By Christine Temin, Globe Staff | October 9, 2004
  3. Natalia, Stanislavsky Ballet is homeless now because their home theatre is closed for reparation. So the Stanislavske Ballet performs in other Moscow auditoriums, including Bolshoi’s New Stage. In the Bolshoi schedule it always written if the performance is done by the Stanislavsky Ballet. The Bolshoi and The Stanislavsky companies never mix. The same with Grigorovitch Ballet in Mariinsky Theatre – the tour of Grigorovitch Company was advertised long before it take place, so it was clear what company will dance. In the case of foreigners who cannot understand Russian the mistakes is quite possible of course.
  4. Natalia, Lunkina became mother last winter and she still didn’t return onstage. Her performance was scheduled in September, but she was replaced by another ballerina; In October she also scheduled for several performances, I hope she will dance. So it’s natural that she will not tour. When part of the company will be in USA, in Moscow the Bolshoi will show “small” ballets, but there will not be any guests from other Moscow troupes as far as I know. Whom do you mean? The only guest will be POB’s etoile Laurent Hilaire who will dance Giselle with Zakharova.
  5. Inga

    Maria Alexandrova

    I don’t think in Moscow is opposition between “bright” Moscow style and “refined’ style of Kirov. Uliana Lopatkina and Diana Vishneva is very popular in Moscow. I have a friend who is fan of both Alexandrova and Vishneva. As for Svetlana Lunkina, she became mother last winter and supposed to return onstage this season. She is very gifted but she was weak technically. Giselle, her first big role, remain her most prominent achievement.
  6. Inga

    Maria Alexandrova

    http://www.kulturagz.ru/RUBRIKS/Music/Rubrik1_index.htm The article in “Kultura” where several critics talked about the season’s results that I mentioned above. Violetta Mainietse called Alexandrova “the most bright Moscow ballerina”. Also two season result articles with high estimations of Alexandrova’s Aspiccia. http://www.vremya.ru/2004/128/10/103327.html by Anna Gordeeva, “Vremya novostei” http://www.kulturagz.ru/RUBRIKS/Music/a2.htm by Ekaterina Beliaeva, “Kultura” I think the Telegraph article mentioned by Dale is good description of Alexandrova’s style. Jeffery Taylor in his article http://www.ballet.co.uk/magazines/yr_04/au...olshoi_0704.htm also very keenly named her the Muscovite missile. She have distinctive style of her own, and people can like her or like her not, it’s just a matter of taste.
  7. Inga

    Maria Alexandrova

    When I saw Alexandrova's Pharaonka in Moscow her technique was breathtaking. The thing I especially like about her Aspiccia is her being enigmatic and passionate that suit my notions about ancient Egypt queens like Cleopatra. Recently Russian ballet critics named Alexandrova the person of the season, especially for her performances in Pharaonka, Romeo & Juliet and Ratmasky’s Leah.
  8. Thank you for your review, chiapuris. I don’t saw the performance and cannot tell who was the three man, but all the six shepherds are soloists who often dance big roles.
  9. Thank you for your reviews, chiapuris. For Nikolai Tsiskaridze it really was debut in the role of Carabosse. As he was injured, he will not dance technically demanding parts till next season.
  10. The Sleeping Beauty at June 12 Nadezhda Gracheva in the main part impressed me by her academic style but she nave nothing more for Aurora. Maria Alexandrova danced as high class ballerina, she have her technique and her stage presence, but I think she didn’t show her full abilities. I liked very much Andrei Uvarov, who looked fresh and quick with his lightning-like jumps. I also like Ekaterina Krisanova as Violant Fairy. She is very young, just a first year in the Bolshoi, but already danced several small roles and looks very promising.
  11. Inga

    Maria Alexandrova

    At May 15 Maria Alexandrova danced Don Quixotte with Vladimir Neporozhny. Alexandrova performed Kitri last time three years ago, so now she bring in the role all the experience she gained in the time. Three years ago she was bright ballerina but not Kitri. Now she IS Kitri. Alexandrova not only show her famous stage presence, her charm, her rare technical strength. For me the most fascinating was the contrast between Kitri as simple girl and Kitri-Dulcinea in Don Q’s dream. In the first act Masha looked like a real innkeeper’s daughter, simple, self-assured and merry. You can easily imagine her pouring a beer to the clients and laughing with them! Her love for Basilio was sincere, she pretend to be indifferent to him, but she cannot hide her feeling. In Don Quixotte’s dream she was just another person. Playful girl is gone, Dulcinea is a crystal fairy with royal bearing. And how beautiful was her balances! In the last act pas de deux she again was simple girl, but she was so happy and charming! Her variation became the peak of the performance. The audience responded with enthusiastic applause.
  12. Inga

    Maria Alexandrova

    They want to say that Roman Empire was very much corrupted at the time, and warmongers became lazy! But don’t worry, Marc, Masha saved Rome at the end!
  13. Inga

    Maria Alexandrova

    April 3, “Spartacus” Spartacus – Yury Klevtsov Crassus – Vladimir Neporozhny Phrigia – Inna Petrova Aegina – Maria Alexandrova Very exciting evening! The ballet, with its boiling music and hot dancing still can touch one’s heart. This romantic, sensual ballet about gladiators fighting for freedom, that is so unlike usual fine performances with ladies in tutu and sweet princes in white, often arouse arguments, and sometimes bring critics to hysterical fits, but the Bolshoi showed that the story is still alive. Klevtsov was very emotinal Spartacus. His dancing was not very powerful but competent, he is not very young, but he show his dramatic gift (I never saw him so good, by the way). His hero is not aggressive, and he understand that his fight for freedom will be very hard, but he cannot be a slave. He is man of kindness and dignity whom cruel fate put in a deathly trap, and he must fight with all the world, and he don’t lost his honor till his end. Vladimir Neporozhny was rather bland. His Crassus, the chief of the legionaries, was interested in Aegina but not in the war I am afraid. Inna Petrova as Phrigia, Spartacus girlfriend, was very moving and graceful. Her romantic fragility was very good contrast to Alexandrova’s self-assured, beautifully dressed Aegina. Masha Alexandrova as Aegina was just great. She is the courtesan, the mistress of Crassus, she wants to rule with his help. Masha excelled with her charisma that made any of her movements something special, and show herself as real actress. As Neporozhny was not a very brave Crassus, Aegina apparently was the head here. That Aegina was a woman of low origin who stopped at nothing to gain the prominence she enjoyed now, and she is sure that she will have everything. She was very strong, powerful, and at the same time so beautiful, so womanly! Her variation in the gladiator’s camp, where she goes with her courtesans to distract the rebels and to make them forget about danger, was just fantastic. She radiated joy and sensual beauty. The poor gladiators have no chance against such a woman. I also like Alexander Petukhov who with real fire danced the gladiator killed by Spartacus in the “blind” fight. The male corps was splendid, especially in the second and third acts. How much energy the performance give to the audience!
  14. On 12,13,14 of March Bolshoi showed at last their Balanchine program. Was performed Concerto Barocco, Agon and Symphony C, and some short number – first day it was Tchaikovsky pas de deux, second day – Tarantella, third day – Sylvie pas de deux. The long awaited premiere was much less successful than the Balanchine program of Mozartiana, Agon and Symphony in C shown 5 years ago. In 1999 Agon was adorned by Gudanov, Belogolovtsev, Pertova, in Symphony C shone Ananiashvili-Uvarov and Alexandrova-Tsiskaridze… We have no such a treat now. The company looks as if the roles were given at random without considerations of a dancer’s abilities. There were just a few bright moments. Maria Alexandrova danced Tchaikovsky pas de deux with Sergei Filin. Both show a lot of energy and star power but the number was apparently not rehearsed well so there were mistakes. Galina Stepanenko was very impressive in the Symphony in C IV part and in Tarantella (with Andrei Bolotin whom I also liked). She is an earthy bravura dancer, a type not usually connected with Balanchine, but she danced with apparent joy and inspiration, so the audience received her with enthusiasm. The rest was fine but not exciting. Sweet but bland Anna Antonicheva in Concerto Barocco; nice but not very memorable Anastasia Yatsenko (II trio) and Ekaterina Shipulina- Ruslan Skvortsov (pas de deux) in Agon; good, professional and dull Nadezhda Gracheva (I part) and Svetlana Zakharova (II part) in Symphony in C. Maria Allash danced Symphony C III part showing a heavy jump, and her partner Yan Godovsky showing nothing at all. Now I am waiting to see the same program with another cast. I hope one day the stars of 1999 premiere will dance their old roles again.
  15. Inga

    Sleeping Beauty

    Viviane, Lilac Fairy is not so bad - in Grigorovitch production it's big dance role, good ballerina can show herself here. But on the previous performance Alexandrova danced Violant Fairy! It's really uncomprehensible! Ballerina with such a talent should not waste herself on small roles like that! Sometimes I think that the management is afraid of talented people.
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