NO7

I found the article entitled 'Australian Ballerinas shed tutues for sexier look' last week. http://news.excite.ca/news/r/011211/12/lif...alia-ballet-col There was also a photo of five ballerinas in underwear and stilettos posing provocatively in For Him Magazine. Here are some interesting reasons for doing that: "There is a whole lot of negative ideas that dancers are anorexic and waif-like and there was a really good way of showing the girls as athletic and strong and sexy." " What the ballet is trying to do is break down the barrier that ballet is just for the cultured--ballet is for everyone." I'm not sure if it would be appropriate to post this. But I am just curious to hear how other people think about it. [ December 19, 2001: Message edited by: NO7 ]

Thanks for the review, Kevin. Bakhti sounds interesting. Then I wonder what other companies dance this ballet. Also Rasta Thomas sounds promising. Do you happen to know where he came from?

Actually, the casting info. is in the Mariinsky official website. But for your convenience, here they are: 6 Nov--the ballet of Roland Petit (Zelensky,Nioradze,Sologub) 9 Nov--La Bayadere (Gumerova, Korsuntsev) 10 Nov--the ballet of Fokine (Vishneva, Ayupova, Ruzimatov, Kolb) 11 and 14 Nov--the Legend of Love (Nioradze, Baranov, Dumchenko, Pavlenko) Things can be changed, by the way.

Entirely agree with Mashinka, going to Russia without basic knowledge of Russian language can be a nightmare. But once you know your way around in the city, it's more than wonderful. I usually plan to see the Kirov perform in their home country or anywhere during the winter. Less crowded, beautiful scenery, cheap accommodation, etc. As Jeannie said, St Petersburg Int'l Youth Hostel is perfect for budget travel, especially during winter. You can hail a cab from Mariinsky at night for an incredibly cheap rate (compared to London) or even jump on a bus or trolley back to the Hostel. Very easy. If you're lucky, you may bump into the dancers at the bus stop, like myself coming across Veronika Part last year. For those interested in going to the Mariinsky Ballet Festival II, it's wiser to make an advance booking for tickets. Try emailing Ms.Churilova (only if she's still working there!) at maria@mariinsky.ru For the time being, I'm dreaming to go to see the Kirov at, according to Kevin Ng, the MET next July and Beijing, Shanghai in September. [ November 02, 2001: Message edited by: NO7 ]

God bless you, Alexandra and everyone in the US. I, too, would like to express my deep sorrow to those affected by this unspeakable event.

My father introduced the music of Swan Lake to me when I was seven. After he told me the story of Odette and her Prince, I imagined myself a Swan Queen. Ten years later my sister brought home a video Bolshoi's Swan Lake (can't remember who danced it). It's my first time watching the ballet. But I became hooked on classical ballet when I first saw live performance of the Kirov.

It's Johan Kobborg who'll dance with Rojo this autumn in Don Q. And Acosta will partner Benjamin(?).

Meanwhile, for those who can't wait that long may consider traveling to Brazil (don't count me in!). The Kirov will go to Sao Paulo (and Rio?)to perform: 14-16 August 2001 Manon 19&26 August Gala Performances 23-25 August Le Corsaire 30-1 September Swan Lake Casts announced included Zelensky, Kuznetsov, Vishneva, Dumchenko, and Baranov The rest are still uncertain.

Thanks for mentioning these two fabulous dancers, campvaldes! They will appear again in Swan Lake at Covent Garden later this month and early next month in Don Quixote pas de deux. I guarantee the latter must be phenomenal. [ 07-21-2001: Message edited by: NO7 ]

I partly disagree about Semionov. Based on seeing his Blue Bird, Lankedem, Swan Lake pas de trois, he is only a few steps behind a young soloist like Anton Korsakov. And Semionov's partnering skill, although not yet first-rate, is definitely on the way. BTW, I saw three performances of Le Corsaire in London last month and remember quite well who danced Lankedem or who danced Ali. ;) I meant it's a pity I missed Semionov's Corsaire pdd, to be exact.

Thanks for the update, Marc. What a pity that I missed a chance to see Dmitry Semionov's Corsaire pas de deux. It must have been the fireworks! And sorry to hear Kolb is injured. Hope it's not that serious. [ 07-18-2001: Message edited by: NO7 ]

Many thanks for your review, A.M. I'm so green with envy! Your description about the venue's decor intriques me as much. I believe its majesty matches that of the Kirov quite well. BTW, do you have any information who will dance in the second programme?

As far as I can recall, the best performances (for me) included: Nutcracker--Bussell/Bolle/Putrov/Cojocaru Song of the Earth--Rojo/Cope Maugerite&Armand--Guillem/Cope and Cojocaru in Giselle Best productions: the Dream, MacMillan's R&J

It eventually comes to the last day of the Kirov's season. Forgot to mention that there is a fabulous blue curtain 'Les Saisons Russe' with caricatures of the characters in Scheherazade, Petrushka, and the Firebird in it. (I'm very forgetful, please anyone tell me if this existed last year in London?) Whether or not this season's considered successful, based on watching twenty performances out of twenty eight, here is the summary of my impressions: Best performances: Symphony in C, Diamonds (Jewels) Best staging: Sleeping Beauty Least impressive: Manon (of course!) Most moving: strange enough, Manon with Ayupova and Zelensky Most enjoyable: Le Corsaire, Homage to Balanchine Best males: Igor Zelensky and Igor Kolb in whatever they danced! Very impressive females: Veronika Part in all Balanchine's ballets and Sofia Gumerova in Le Corsaire Male on the rise: definitely Dmitry Semionov and Maxim Krebtov Female on the rise: the one and only Irina Golub (but I'm not saying she's most impressive!) Queens of the Kirov: Uliana Lopatkina in Diamonds (she's not as good as I expected in Swan Lake unfortunately), Diana Vishneva in Rubies and Scheherazade Dancer of the season: Ilya Kuznetsov; without him I'm afraid the Kirov couldn't get through the end! He was overused this season. [ 07-07-2001: Message edited by: NO7 ]

Yes! Jeannie The finale is exactly the same as what you described. And that is what I'm not so impressed. I wish it would have more dances or something else. Last night, Irma Nioradze was like a femme fatale in Scheherazade, and Tatiana Amosova showed some splendid arm movements in the Firebird, but there's nothing behind her steps, say, emotionless. [ 07-06-2001: Message edited by: NO7 ]

I wish to do it later the summary of the past four glorious weeks of the Kirov's season in London in this new thread. But at the time being, there are a few thoughts of the Fokine programme last night. The Kirov presented for the first night their final programme, the Ballet of Fokine--a great combination of dance and pantomime. The company showed the supreme lyricism in dance in Chopiniana and the ultimate sense of theatricality in Scheherazade and the Firebird. In Chopiniana, we had superb casts; Ayupova (Mazurka), Zhelonkina(Waltz), Pavlenko(Prelude), and Kolb(the Youth), together filled the dance with poetic yearning. I have watched the sensational Scheherazade quite a few times, but never get tired of it, especially last night I was impressed by the captivating allure of Diana Vishneva who replaced Lopatkina. Her Zobeide was divinely sensual, majestic, and beautiful. Vishneva's interpretation was slightly different from that of the seductive Yulia Makhalina and sophisticated Altynai Asylmuratova in the same role. The Golden Slave was the magnificent Ruzimatov (who else!?!)who danced with powerful expression. This is, I believe, his signature role. The Firebird is probably the least of my favourites in the Fokine's heritage (I think the finale should be revived), but Irma Nioradze who, although a bit brisk, was technically accurate, vivid, and bird-like in her dancing, made the piece a joy to watch, at least for once! [ 07-05-2001: Message edited by: NO7 ] [ 07-06-2001: Message edited by: NO7 ]

Salome According to the article in Dancing Times, Makhalina's Manon was, unfortunately, close to 'over-reacting'and far too polish. That's all I know!

Interesting to know that Zakharova gets the first night of both Manon and Le Corsaire!

So, it means that Lopatkina won't dance in Le Corsaire at all? What a shame. And by the way do you happen to know who will replace Asylmuratova in Manon next Thursday?

Would love to see: 1. Diana Vishneva as Odette/Odile and in Romeo & Juliet in MacMillan version 2. Alina Cojocaru and Roberto Bolle in Manon 3. Uliana Lopatkina as Kitri

I only know that Vishneva did the lead in the last night of Giselle. Presumably, her dancing partner should not have been anyone else but Ruzimatov. ;)

Yes, indeed Kevin, the Mexican audience gradually showed more enthusiasm in the second night of Giselle. With almost 10 minutes of continuous applause, the audience enjoyed more for the interpretation by Irma Nioradze and Igor Zelensky, who as the critics claimed were in sublime form. The first night of Le Corsaire, performed by Tatiana Amosova, Evgeny Ivanchenko, and Irina Zhelonkina,also received positive reviews, by the way.

It's interesting to know that the Kirov received a 'cold' response from the audience in Mexico but good reviews from the critics. According to local newspaper, the ovation was lukewarm (only a few managed to shout encore/bravo) and soon fading away. I believe this is a rare phenomenon for the Kirov. One of the critics blamed on the poor visibility of the stage that deprived the audience of full appreciation and enjoyments, despite high ticket prices. However, the very first night of Giselle, led by Svetlana Zakharova and Igor Kolb, was performed in full house, and the critics were impressed by the grace and virtuosity of the dancers so much that they felt as if they entered into the territory of the dream. Good one! ;)

As far as I know the premiere of Neumiere's ballets at Mariinsky Theatre included: Spring and Fall (Dvorak) Now and Then (Ravel) Sounds of Empty Pages (Shnittke) Each dancer appeared in more than one piece, but it seems the highest acclaim went to Lopatkina and Vishneva in Spring and Fall.