Thalictum

Well argued, Natalia. But I certainly have not seen anything in Obratsova to remind one of Ulanova.

Natalia, please, Obratsova is a soubrette, albeit a tasteful one. One could hardly say the same of Ulanova. The Babushkas have made an idol of Obratsova, but their effusion needs to be recognized for what it is.

Typical of the sadistic way the Kirov treats all dancers who are not proteges:

In Cardiff Sarafanov has three Mercutios, spread out over several days. Scherbakov is given two, BOTH ON THE SAME DAY.

Really this company has lost whatever logic or moral compass it may have possessed.

Are even the cheapest tickets out of reach for the vieux audience?

Kullik was also considered "overweight" in some quarters.

Marc and Natalia: I think we may have to consider the unthinkable: the Kirov is perhaps now morphing irrevocably into a demi-caractere/modern company.

The subtleties of classicism, requiring patience and rehearsal time and artistic maturity, are so little understood by the nouveau audience as well as the administration that unless a course correction is made we are not going to see definitive performances in the classical repertory. Compared to what we see elsewhere, however, I'd have to say that the Kirov remains the most classical company.

I'm watching Dumchenko's graduation tape and she is quite petite next to Dmitri Pykhachev, who is, say 5'11. I think she looks taller than she is because of her proportions, but yes she is certainly taller than Obratsova or Novikova!

Yes, Ballet Lovers, the Kirov needs short ballerinas as well as the Amazons. But can't we have short ballerinas with long legs, like Svetlana Ivanova and Maya Dumchenko? Obratsova is short with short legs and feet as well. Her neck is long, however, and that improves her line.

Cygnet you are so right. If the infants continue to run roughshod over the Petipa and Balanchine repertories, the Kirov "standard" really isn't going to mean much anymore.

I couldn't disagree more about Skylarov. His acting was an embarrasment, and the tragic dimensions of the role were ludicrously absent. His dancing was good but hardly polished, and don't anyone dare mention, "Oh but he's only 20," because that is the whole point!!!! Besides it wasn't a debut, he dances this role more often than anyone else at the Kirov right now. Obratsova was nice, but I am not drinking the Kool Aid about her and I wish her claque would lay off already.

Vostrontina was fine, as were all the other demi-soloists.

I really at this point question the astuteness of the local Maryinsky audience.

There is something received about their reactions.

Nioradze was professional as Raymonda. Why didn't anyone mention Dmitri Pykachev, who subbed at the last moment for Kutznetsov and was better than Kutznetsov?

Cygnet I've come to the conclusion that the coaching system needs to be overhauled. Each coach is so zealously attached to his or her pupils ONLY that the best interests of the company are now being ignored.

Ballet lovers, you've hit the nail on the head. The administration does not WANT mature or deep dancers on stage because they will show up the infants.

Sad but true. The Kirov is becoming a kindergarten.

I must add as well that the character dancers alternated roles on the two nights and were on the whole fabulous.

I'm sorry to burst anyone's bubble, but in my opinion, while there were many beautiful and praiseworthy things in Tereshkina's Raymonda, there were a lot of technically insecure passages -- particularly the second half of the dream solo, and a lot of thoughtless poses that were inappropriately rough. She is not yet ready to be principal, and she should not be put on a manic fast forward path. She has a lot of work to do before she is a great Raymonda. Of course the ballet is so rarely performed that that could be said about anyone.

By the way, all the supporting solo parts were performed by the same dancers both nights, which meant they were on their feet all day before the premiere; everyone was better the second night.

We're talking dancers here, not horseflesh and rather than focus on Tereshkina's racing handicap I'd like to remind our readers that her performance was definitely a beginner's effort.

That's the one, Natalia, and he's a man.

Yes, Natalia, I think California is going to be up in arms about getting the 1952 Beauty, which they weren't crazy about in 1989, and not the Vikharev. The 1952 production has started to look very tatty -- if they bring it they must at least refresh the costumes and scenery, IMO.

My info is that The Awakening of Flora is for Novorsibirsk, where Vikharev is artistic director.

I'd say the idea of Korsakov as de Brienne is rather surprising as well, especially with Tereshkina, who towers over him. Emploi seems to have left the building.

Natalia isn't it Beauty not Bayadere during the US tour this fall?

Natalia where can we get the new Shelest book?

There's also a new compilation of pieces (many but not all previously published) about Soloviev, which for some reason is not available at the Maryinsky gift shop.

Wonderful photos as well.

Cygnet you are so right. I saw some home movies of Osipenko made at the Kirov in the 1960s and I almost wanted to weep -- THIS was the dancer who wasn't allowed onstage????!!!!

Yes I see what you mean about Chopiniana. And again, there are dancers who have much more to bring to these roles who have rehearsed these parts for years without getting a single performance.

I'm no great Ivanchenko fan, but he's at least as good as Shishov as Ferkhad, but Lopatakina undoubtedly approves of Shishov as her partner.

Who wound up dancing Chopinaiana?

Natalia what was interesting with that Beauty entry is there was never a Desire posted on line. There was only Novikova and that remains true today.

Whereas when Kondaurova replaced Lopatkina as the Lilac Fairy, the affiche entry was updated the next day to reflect.

Gumerova would make sense since Chenchikova is her coach as well.

They're being very cagey about these things. They've never dared to put on the on-line affiche that Vladimir Skylarov made his debut in Sleeping Beauty on the opening night of the Tchaikovsky "Festival."

Elena Tchernichova has also been coaching Vishneva in Berlin.

Is Chenchikova still Dumchenko's coach?

What's your take on Vostrontina, Natalia?

Without a powerful coach at the Kirov you are in Siberia -- with a powerful coach like Chenchikova you can go very, very far. But I spoke to other people who were there, and 18-year-old Samova should not be dancing Odette/Odile at this point in her career. Her Corsaire in Washington was enough to tell us that already.

This has been a lively, refreshingly no-punches-pullled discussion!