Cygnet

Is this the link you are all using? http://liveweb.arte....nt_Petersbourg/

Once on that site, do you have to click anything? I've clicked through all the options...unblocked pop-ups, etc. Still getting a clock that it will start live in 90 minutes...anybody else having that problem?

try this

Same ticking clock...I guess something in my ISP or perhaps my security software is blocking the transmission. I'll try later to see if they post a recording...I hope!

I suspect that there should be a dvd eventually; I'd be surprised if there isn't. IMO Maestro G. should have somehow gotten Ballet in Cinema to jump all over this once the opening date was decided, like the Bolshoi. Incidentally, for those who don't know, today (2 May) is his birthday.

Outstanding coverage right now online with ARTE. Excellent performance (so far) from all - the opening Shades, the Children's Chorus, Lopatkina, Nikitin in the opening scene and chorus of "Boris Godunov," the Vaganova students in "Etudes," and pianist Denis Matsuev. Brava Mariinsky !

I know .

MacLean's magazine has done a feature on Mariinsky II from the architect's perspective.

http://www2.macleans...they-will-carp/

The official verdict is, "What's done cannot be undone," or rather, " 'I love it; so deal with it.' " That's Maestro Gergiev's sentiments too. Gergiev has even gone so far as to state on the evening news back in February that

"Fools will probably stay away." Since the reveal and that remark, Gergiev's fellow Petersburgers have responded with righteous indignation, to put it mildly.

http://www.tv100.ru/...mariinki-68496/

I think that the auditorium far excels the exterior facades, given that it was (obviously) built with the Opera in mind. For all the billions spent, both institutions should have been serviced equally. However, the considerations were one sided. There is only one (1) large studio for the Ballet with a glass ceiling, and other rehearsal rooms with low ceilings. So, pdd/lifting rehearsals will be difficult if not impossible. Therefore, the old theatre's studios will have to be used. The historic Theatre is scheduled to close for renovation in 2016. So, can someone please tell me

where the dancers will rehearse? The Vaganova Academy can (and has been) utilized for this purpose before, specifically during the Soviet's last upgrade in 1977. But it's anyone's guess where the Ballet will rehearse three years from now.

Also, a number of new dancers have been hired for the new theatre, (approx. 60), so the space issues of the old Theatre are only exacerbated with the new Theatre. The decision to hire new dancers is recent (and) after the

fact. There's no extra room: The designs were executed based on the Ballet's personnel number when they started and the estimated number of personnel when they finished. What's particularly disturbing is the suggestion that the open air roof might be used as a White Nights "wedding chapel" for citizens, as well as tourists. If that happens, (I doubt it), but if it does, that will out "commercialize" Vladimir Kehkman's giant advertisements in the Mikhailovsky's foyer.

There are also concerns regarding the functionality of the new house for the *opera*. For example, Gergiev

and the architects have repeatedly waxed ecstatic over the "speed" by which the scenery can be changed during intermissions, which are now approx. 45 mins to 15 mins - or less. Safety is a major concern because scenery has to be assembled and dismantled with great care. At least 20 - 25 mins are essential for an approx. 2000 capacity audience and performers to *recuperate during intermissions. *(I'm trying to be tactful here).

The new stage is unraked. Singers want a level stage. The dancers were trained and train with raked floors and are used to a raked stage. The interior is very similar to the ideas for the Israeli Foreign Ministry and Toronto Four Seasons Center. Since these were offered as other samples of Mr. Diamond's work, IMO he seems to be a one note pro. I hope I didn't "miss-speak," but that's what I think.

I've always found it quite difficult to obtain and update a visa for Russia.

Here are the 2013 Benois nominees: http://benois.theatr...massmedia/news/.

Congratulations to all the nominees and to Olga Smirnova in particular!

She has been nominated for her interpretations Aspicia in "La Fille du Pharoan,"

of 'Diamonds,' in "Jewels," her Nikiya, and Czarina Anastasia in the revival of

Grigorovich's "Ivan the Terrible." !

...Can anyone shed light on the economics of the opera vs. the ballet? The ballet was a touring cash cow, especially after the breakup of the Soviet Union, and kept the company afloat long enough to be rescued. The opera tours, but not nearly as much as the ballet, and the top singers at the Mariinsky are much more likely to spend extended periods outside Russia, at the Met, Paris Opera, Covent Garden, etc.

Gergiev courts ballet donors actively: are they that taken by Gergiev that they don't care if the ballet is neglected, or do they not realize the ballet is neglected because the brand is so strong?

The main claim to fame of the Mariinsky Theatre, in Imperial, Soviet and the present time has been the Ballet. Unfortunately, unlike the Paris Opera, the Mariinsky's site doesn't post its annual demographic and financial stats. Here is an example of transparency; specifically, please see pages 40 - 52: http://www.operadepa...ris_en_2011.pdf. The Paris Opera posts a comprehensive study of the previous season, giving equal time to its Ballet and Opera. The Mariinsky Theatre notes at the bottom of its home page that we can follow it on Facebook, Twitter, etc., and yet, we can't get casting details in advance, nor the kind of detailed analysis that Opera Garnier offers. Yes, Maestro Gergiev actively solicits donors for the brand wherever he can find it as do all Directors. However, it's the Mariinsky's ballet donors who have historically stepped up to the plate, because they know that's where this brand's bread is buttered.

I co-sign Tiara's, Natalia's and Birdsall's posts. In my experience, the Mariinsky Ballet management has scrambled up to the11th hour to cast ballets. Personally, I can't stand the disclaimer "TBA." If you wish to book ahead, good luck with that, because there's no telling who or what you will get. That's true at home and when they tour. If a star is featured in a major work,it will be advertised to the nth degree, i.e. "So and so in..." whatever ballet. On the other hand, when a major work is not a 'benefit' performance for the star, and a routine night, when the ticket sales near capacity, slip the current favorite in sometimes as late as 48 hours prior to curtain. I've posted time and time again that the site is not only antiquated, but it's essentially a hommage to Maestro Gergiev, the Orchestra, the Opera and musicians whom he has invited to perform at the Concert Hall. This reflects the main focus of the General Director of the Mariinsky Theatre. The Ballet is incidental.

3D ballet performances in the cinema are unnecessary. IMO 3D would distort line and choreography. It would be

just as irritating as cutting dancers off at the waist. For what it's worth, Maestro Gergiev believes in staying ahead of the curve, and by allowing "Nutcracker" last year, and now the company's signature work to be presented in 3D, he thinks he's doing just that. On the contrary, it's not a good idea. The roving cameras in the 2011 dvd of "Nutcracker," (which was also 3D in movie theatres), their "Jewels" dvd and the 2006 "Swan Lake" dvd, (the latter two with Lopatkina at the helm), weren't good ideas either. The fact is that the Mariinsky Ballet is woefully behind the competition when it comes to online performances, and the live global simulcasts that Ballet in Cinema offers.

If Gergiev really wants to build a wider audience for his Mariinsky Ballet he needs to get cameras in the Theatre

tout de suite. Hopefully, with M2 opening in 17 days this may be a possibility. Finally, Katya Kondaurova doesn't need 3D to get her 'pointe' over; and Gergiev doesn't need it during extended shots from the podium.

I remember seeing her in clips of "The Four Temperaments," and "Scotch Symphony."

She was a phenomenal ballerina and a national treasure. She will be sorely missed.

Maria Tallchief, rest in peace.

She has staged a couple of full-lengths ballets for the National Opera, and they seem to be classical in nature, stultifyingly so.

Volcanohunter, that was an elegant statement .

Cast lists have been announced: http://www.theartsdesk.com/dance/bolshoi-full-casting-box-office-opens.

Volochkova needs to move on re her dismissal from the Bolshoi. It seems that she hasn't, and unfortunately (IMO),

she's using what has happened to Filin to draw attention indirectly to herself. She hasn't been in the Bolshoi frame

for almost a decade. That doesn't mean she doesn't have a right to speak out; it's just that the timing, not to mention the subject has nothing to do with Filin's situation. The late Ekaterina Maximova offered her own assessment on Volochkova. It's her final benediction on the subject, if you will. "Coda" was kind enough to post this in 2003 at the height of the media blitz on her firing.

http://balletalert.i...ss/#entry110158

When I hear the name "Volochkova," I think 'Russia's answer to Kim Kardashian.'

On 24 & 28, June, Genya will be making her debut in her own right at Palais Garnier with Paris Opera Ballet in Pierre Lacotte's "La Sylphide."

http://www.evgeniaob...com/afisha.html

Treiste wrote:

I wonder if she's dealing with an injury in those Bayadere videos. She's never been the best turner but those pirouettes are particularly weak.

She will be dancing her follow-up Nikiya at the Bolshoi on 5 May. I trust she'll improve with her second attempt.

This is marvelous news! Congratulations to Eleonora Abbagnato!

^{Diana Vishneva comments on the new theatre.}

^{http://www.mariinsky...s2/26_230march/}

The UK's Telegraph has published a feature on Olga: http://www.telegraph.co.uk/culture/theatre/dance/9952435/Olga-Smirnova-dancing-in-the-dark.html.

In answer to your question, this is why I wrote above, This disastrous slip-up is bad enough, but when one allies it with Kampa's other shortfalls - her lack of fluidity, her stiff arms and upper body, her lack of expression and indeed air of ill-ease every time she steps on the stage, any ballet lover must surely say "Enough! Where are the true Mariinsky ballerinas?"

agree 100%. It was not about JUST a slip, it's a slip ALONG WITH OTHER non-Mariinsky ballerina exhibits ("her lack of fluidity, her stiff arms and upper body, her lack of expression and indeed air of ill-ease every time") while there are PLENTY talented balerinas "on the ignored bench".

If Kenan's overall technique isn't reliable, and if she can't deliver a coherent and competent performance in a leading role she need not be on the Mariinsky stage. Period. That's harsh but that's the truth. Consider this, when she takes that stage, she takes the U.S.A. onstage with her. This is how the Russians and her Mariinsky colleagues look at her. That's also harsh but that's the truth as well. I have seen her IRL in the Mariinsky's ensemble and in demi solo work. Her dancing hasn't really been representative, nor is she representative of the very best that American ballet has to offer. She may have been Fateev's "answer" to Hallberg being hired at the Bolshoi, but David (using him as an example) is an established Principal and international star.

IMO the Mariinsky Ballet is in just as much bad shape as the Bolshoi, but it is the lack of competent artistic direction that's the issue at the Mariinsky, not felonious activites. Several people mentioned cruelty. Let's think about that for a moment, and put that in context with what's been going on in the Mariinsky to date. It's cruel to reduce and subject superior (and lower) ranked dancers to schlepping behind this kind of il-preparedness and lack of development. It was cruel to throw Kampa (and others who have been thoroughly scrutinized and discussed over the years on this site) to the lions in the first place. Perhaps youtube clips should be banned on BT since one person's nectar is another person's poison. That's just a suggestion, but I don't think that would be considered PC.

It's time for Miss Kampa to go home.

Politico calls for Bolshoi to “elect its leaders”. Ismene Brown Blog. 22 March 2013

http://www.ismeneb.c...ts_leaders.html

Main Ismene Brown Blog Page with previous articles including "Treasury auditors move in on Bolshoi spending". 21 March 2013.

http://www.ismeneb.c.../Blog/Blog.html

Madame Kondratieva stated... what in Izvestia?

"Our leaders must stay the way they are, they are right for us. I think our artistic council can cope with all

the problems - everything's running normally; and soon everyone will be back in their usual seats."

With great respect to Kondratieva, after everything that's happened including the latest escalation/incident, IMO no - everything's not running normally and no they're not coping. Bless her for trying to put the best spin on it, but this has gone way beyond the realm of damage control. After all that has happened, status quo cannot be the end game. There must be a resolution. Sadly I think it's safe to say that it won't be amicable, and no one will be satisfied with the outcome. The Federation Treasury is conducting the audit. Forgive my skepticism but who is auditing the auditors? OMG what a bl**dy mess.

I'm concerned about the well-being of the dancers Filin brought to the theatre: Smirnova, Obratzsova, Chudin, Hallberg among them. It must be a horrible atmosphere for them......

Indeed. Sergei's life, (and quite possibly his sight) have been destroyed. As for the dancers you've mentioned, each of them were invited by Sergei and now could be viewed as collateral damage. Professional jealousy and resentment aside, each of these dancers are considered outsiders - especially David. This entire situation perfectly illustrates how the fallout from one person's (or persons') bad actions effects everyone, especially the innocent bystanders.

The Mariinsky management has announced auditions for the Ballet due to vacancies, (thus far) undisclosed.

Auditions begin on March 29.

http://www.mariinsky.ru/en/news1/news2/19_230march/.

Ismene Brown's article in yesterday's Artsdesk:

http://www.theartsde...boycott-bolshoi

(Edited to add) also note Boer Deng's article in this month's edition of the Atlantic:

http://www.theatlantic.com/international/print/2013/03/after-the-acid-attack-is-the-bolshoi-doomed/274109/

Thanks Natalia for the links and the clips. Is another Grigorovich recruitment contest really necessary?

I'm only pointing out the fact that there are so many of them.

I don't think the articles say that Filin told her she needed to change coaches but suggested additional coaching from a female coach. It was Tsiskaridze who claimed that Filin was trying to take away his pupils. Is that Bolshoi shorthand for "drop your coach?".

No, the articles didn't state that. What I alluded to were those things that Filin did for Vorontsova, her family's transition to Moscow, and my belief that she should have taken Filin's advice. If Tsiskaridze believed that Filin was trying to poach "his pupils," that's Filin's prerogative as A.D. At the end of the day, Tsiskaridze's pupils aren't "his pupils;" he (superstar though he is), and they are below the top box on the Ballet's org chart. Filin's name is in that top box of the Ballet's org chart. Filin could have reassigned all of Tsiskaridze's pupils, and Tsiskaridze could have hyperventilated all he wanted. I simply agreed with the posters I quoted, that Angelina should have (must have known), that her coach was at the very least radioactive, and that she might want to distance herself from him for the benefit of her career.