Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×


Senior Member
  • Content Count

  • Joined

  • Last visited

About Mikhail

  • Rank
    Senior Member

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Ballet & History, ballegoer
  • City**
  • State (US only)**, Country (Outside US only)**

Recent Profile Visitors

390 profile views
  1. Osiliev, Vasipova... I do not know any dancers that go by these names. I do know Natalia Osipova and Ivan Vasiliev. Ekaterina Maximova and Vladimir Vasiliev were a fantastic couple in the past, but nobody ever dared to call them Maxiliev or Vasimova. I think Natalia and Ivan deserve no lesser respect. Should we use silly nicknames invented by journalists? Sorry to tell this.
  2. Sorry, Natalia, Osipova danced with Lopatin in the premiere series (second cast on March 13, 2009) . As always, they showed wonderful partnership.
  3. I was not going to dive so deep into political questions. I guess the art (especially the old one) should not be approached from that side. I only tried to tell, that if a gentleman comes to a party in a costume but without pants, it would be too snobbish to discuss a color of his tie. A lot to be said about Le Corsaire, but I will restrict myself by a few topics. Negress vs. Old Maid Words change their meaning being transferred from one language into another. “Negr” in Russian has no negative color as in modern English, it was used many times in literature of 20th century. Say, by Vladi
  4. Ok, Bart, thank you for the explanations and sorry for the off topic (actually it was reductio ad absurdum). Thus, all these Shakespearian Jews, Turks, Bohemians and even Maures will survive in classical ballets – good news.
  5. Ladies and Gentlemen, may be I am wrong, but I see no reasons to discuss such secondary questions as an “old negress” or the name “Isaac” of the bad guy from a provincial market place. Evidently, the Bolshoi’s Le Corsaire produces much more serious problems because it presents a real caricature on the Muslim world. Look at all these fat mullahs, lazy eunuchs, chicken-hearted soldiers, silly Seid-Pasha himself… Meanwhile Christian bandits are romantized in the ballet. The only Muslim positive personage - Ali by name - was excluded from this production. Was it coincidental? Moreover, the ba
  6. Bolshoi announced the casts for the US tour only on March 19. Here is the link to the first announcement which I saved for the history being absolutely sure that it would never become true. Both Zakharova’s and Osipova’s schedules were known at that time. Zakharova’s one was taken into account, Osipova’s was not. One can see from this poster that Osipova was planned to dance Le Corsaires in Washington on June 17 and 20. At that time her La Sylphide with ABT was scheduled on June 17 and 19. No comments.
  7. These days Zakharova has the premiere of Pink Floyd by Roland Petit in Milano so she could join the company only in Berkley. Tsiskaridze participates in Andris Liepa’s The New Russian Seasons in Paris and dances this awful The Blue God there.
  8. Just a few remarks / replies to some questions above. Le Corsaire was adapted because of American trade unions demands. In that case Bolshoi had nothing to do with it. Another question is what was excluded. I would have shortened the scene on a couchette in the cave, and also children dance there, but not Pas des eventailles – that leaves a void in the third act. Besides, there are two original variations by Petipa and nice Pas de six by Ratmansky. But Burlaka had another point of view, as I can conclude from your posts. This season Le Corsaire was performed only twice at the Bolshoi
  9. http://www.bolshoi.ru/en/season/press-offi...x.php?id26=1220 The official diagnosis is not published yet. People from the Bolshoi tell that Maximova died in a sleep, probably because of a heart insufficiency. Her mother found her dead in a bed. Thus, Tatiana Gustavovna Shpett-Maximova (now 94) took care of her famous daughter all her life, until the very end. So sad. We will go to Bolshoi tomorrow morning at 10 am MSK to tell Katya our Last Farewell. She always was in my life from the time I started to watch ballets. Да будет земля ей пухом (can this be translated as "let the ground be lig
  10. As far as I know, when in September Osipova received Ratmansky’s permission to accept ABT's offer, she was told that Bolshoi would probably need her for one or two last Le Corsaires and kindly asked ABT to move her La Sylphide from June 20 to June 19 to make it possibile to join the Bolshoi in Washington.
  11. Osipova tells she is 167 cm in Russia. Probably she will be a bit shorter in inches I can only guess on how much.
  12. Natalia, have you ever watched this “rarity”? The new ballet on the music by Scriabin with the choreography by Wayne Eagling has nothing to do with Fokine’s Dieu Bleu. These are different ballets. Oh yes, they have something similar – the synopsis and costumes designed by Bakst. And they have the same fate. Dieu Bleu with Nijinsky and Karsavina turned out a complete fiasco in May 1912, Dieu Bleu with Tsiskaridze and Ilse Liepa failed in October 2005. Press was awful. Sorry to tell this! Concerning the potential pretenders for Ratmansky's chair, I found that Tatiana Kuznetsova presented in Komm
  13. Actually this is not so fresh news and it is evidently Ratmansky's decision. Five more years of administration and he would loose his creativity in staging dances (what he likes most of all). The first contract between Ratmansky and Bolshoi was signed for 3,5 years and expired in June 2007. Ratmansky signed a new one but only for 1,5 years, till January 1st 2009. This date was obviously determined according to the schedule of reconstruction of the historical Bolshoi building, its Main Stage. At that time it was to reopen in the end of 2008. Nevertheless since Ratmansky could sign a contract
  14. 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
  • Create New...