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About Mikhail

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  1. As was promised I talked to Yuri Burlaka to present here more details on the music of Le Corsaire. A short Introduction (Ouverture) – Pugni, composed for Le Corsaire Pas des esclaves, female variation - R.Drigo for Maria Gorshenkova in The Vestale. Finesse d’amour (Medora in the 1st act - with participation of Conrad and Seid-pasha) – a variation by C.Pugni for Praskovia Lebedeva in Satanilla. Pas de deux: Adagio – Nocturn by R.Drigo from the ballet Spring Dreams Medora’s variation – J.Gerber from Trilbi. Pas des eventailles: Entrée, Adagio, Pas de six and Coda – R.Drigo from The
  2. Thanks a lot, Drew, for your clear written and interesting report. You are right – these two girls who lead in pas de six, are Chinara Alizade and Anna Tikhomirova. Chinara is black haired and more subtle, Anna is blond, she is stronger and has good leaps. Both are in corps de ballet, both graduated from the Academy two years ago, both became laureates of the Moscow Ballet Competition in 2005 (Alizade conquered the gold, Tikhomirova – the bronze).
  3. How can we combine “too long” and “more dancing”? It’s a pity Ratmansky didn’t accept any of proposals generated here. I suggest to watch two historical records I prepared for the Russian forum in view of the forthcoming premiere of Le Corsaire. I guess it could be now of interest here too. Sorry for the extremely bad quality. These are flv-files, I use VLC-player – easy to find. 1992, Bolshoi, the première of Sergeev’s version. Nadezhda Gracheva dances Le Petit Corsaire. She shouts nothing 1994, Bolshoi, Grigorovich’s version. Galina Stepanenko dances the variation from the Slave pas
  4. They shouted in Russian - "na abordage". Somebody at Ballet.co asked already what did this mean.
  5. Prince Trubetskoi. Yes, that’s what Marc told some time ago. Bolshoi started to sell the booklet on Le Corsaire just at the last dressed rehearsal with Lunkina. And then I asked Burlaka why Trubetskoi was not mentioned between the composers and referred to Pygmalion. He answered that indeed Prince Trubetskoi composed the ballet but this variation belonged to Drigo. The other day, at the premiere, I met him again and asked where from Drigo music came to Pas des eventailes. And he told about Enchanted Forest. I suppose he meant not only the variation but all the rest too. Yuri is in London now.
  6. Leonid, thank you. And what did Medoras cry in Le petit corsaire? Natalia, you were interested in the music of Pas des eventailes. Here are mp3-files – the live record which is not prefect, of course. Anyway it gives an impression. Gulnara’s variation is by Zabel, all others by Drigo. 1. Entrée 2. Adagio 3. Variation for six soloists 4. Gulnara’s variation 5. Male soloist’s variation 6. Medora’s variation 7. Coda
  7. Hello to everybody. The word “sarcophagi” was never used in Russian articles about Bolshoi reconstruction. So I suggested this question to members of a Russian ballet forum. The only answer was given and almost immediately. After Chernobyl the word “sarcophagi” was used for the building which was constructed to surround the dangerous reactor. Bolshoi as is planned will be surrounded by an underground wall of concrete to protect the theater from underground waters (there is a river flow in this site). Probably, a person who translated the article, used ‘”sarcophagi” in this sense. On the oth
  8. Medora will shout in Russian. According to my info, Ratmansky suggested two variants of the war-call at the rehearsal of “Le Corsaire” last Thursday. Namely, the first was in English - “all aboard”, the second one was in French - “au bord”, exactly as it was in Emperors time. He declined “bottoms up” without further explanations. But our ballerinas were not enthusiastic and finally Ratmansky decided to keep the Russian text - “na abordage” (whic is actually in French, but this word was accepted by Russian language long ago). Thanks to everybody for the constructive discussion. Bolshoi com
  9. Medora with chorus and orchestra... It is an opera, isn't it? Very piratical one.
  10. So many good ideas! Many thanks to everybody. We could invent a personal phrase for each of three ballerinas according to their appearance and temperament. Why not? Just to see how adequate we understand our ballerinas. Do you think "bottoms up" fits better Masha Alexandrova than Sveta Zakharova? I like also Anchors aweigh and even consulted in Moscow - people think it would be difficult to pronounce for Russian ballerinas. This is a point we should not forget.
  11. Well, well... "Bottoms up" indeed can produce a humoristic effect. While Medora dances Le Petit Corsaire all others are drinking wine. So "bottoms up" fits the mise-en-scène. "Ahoy" should be used also. I attended four performances (actually five but Stepanenko did not cry at all at the rehearsal) and noticed that the audience had no time to react, to understabd the words. They just were not ready for the cry. Thus, to cry Ahoy to attract their attention, then to make a small pause and when the audience is ready to cry Bottoms up. Is it OK? All aboard is OK for me and very close to the R
  12. Dear colleagues, in a few days Bolshoi’s ballerinas go to London. They still do not know what to cry at the end of Le Petit Corsaire. Help them, please. I am quite serious, this is a problem and all good proposals will be transferred immediately to Ratmansky and Burlaka. Time goes too fast. It is not necessary to look for an adequate translation to “Au bord” ot “À l’abordage” or to dig special dictionaries. 1) The cry should be familiar to any English speaking audience (which consists of not only sailors ) to produce humoristic effect. 2) Still some associations are necessary – either
  13. You are right, Mme. Hermine, just forgot that ABT has Sergeev's version which starts at the bazaar. Natalia, I think we should not worry about tour to London. Bolshoi had the successful experience in 1956 how to dance in a very cold weather.
  14. Oh, yes, Natalia, you are right, Igor Zapravdin plays piano in my link but the music is so famous that one could readily find orchestrated records. I do not think it is really important for our readers. I do not think we have to give exact references to each statement as how we publish scientific papers. Do we fight for the copyright or just support the free conversation? Sorry if I violated some of your rules. Esmeralda’s variation was interesting for me in the context of Le Corsaire for two reasons: it gave an example of Burlaka’s job and it was used once as Medora’s variation instead of the
  15. Eh, Marc, the history of different variations and their music is so complicated… For example, please listen to this music well known as Esmeralda’s variation which was usually attributed to Drigo. Yuri Burlaka found that this is a variation of Sieba from the ballet “Sieba or La Spada di Wodan” (1877, Teatro Regio) by Romualdo Marenko (1841-1907). Nice, isn’t it? By the way, this variation with tambourine was interpolated by Grigorovich in his version of Le Corsaire (Bolshoi, 1994) as Medora’s variation in the first act, when she danced at the Market Place in front of Conrad. Not a good idea,
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