Cygnet

She may get Aurora sooner rather than later. Oxana seems to be on the same career trajectory as her predecessor - even down to the order of roles - it's eerie. The unspoken de facto "rule" is this: To be considered for prima ballerina, one must perform Odette/Odile in the Mariinsky Theatre. If one comes from another (lesser) theatre and have O/O in your rep (like 1st soloists Matvienko and Kolegova), you may dance it many times, but you most likely will not become a Mariinsky Prima. There have been exceptions. In the previous generation, Lubov Kunakova and Olga Tchyenchikova (Vaziev's wife), both came from the Perm company with O/O and principal experience and they became Kirov megastars. Nioradze is another one who came from the outside (the Tblisi school and company) and went to the top. However, if one is homegrown and attains the O/O milestone, it doesn't mean that one will ever get a debut or a follow-up performance. And if you do, that doesn't mean that you will ever promote to Principal. The other major classical roles matter as well and enhance one's bio but O/O is the most coveted role. Vishneva became a principal without O/O after her debut as Kitri shortly after her graduation. However, she waited a decade before her hometown debut. In the interim she outsourced her debut and danced the role to great acclaim in Berlin, with ABT, POB and in Tokyo. Before she became a Bolshoi Principal, Obraztsova had to make her debut with the Stanislavsky in Moscow. Osmolkina made her debut, however she hasn't followed up yet and that was about 6 years ago -> (?) it's been so long... . Osmolkina's two follow-up performances were with the Royal Ballet at Covent Garden. Novikova made her hometown debut last year and she hasn't followed up yet either. Her actual debut was with the Novosibirsk company. She made her debut as Nikiya with her husband (Sarafanov) at the Mikhailovsky in summer 2011; but still no Mariinsky Nikiya debut. She recently followed up her hometown Raymonda debut, in the wake of her success in the La Scala recon, but her debut occurred 5 years ago. Do you see what's going on? He reports to Maestro Gergiev, but Fateev casts and promotes whomever he wants - which is his prerogative. In recent years, among the women I'd nominate Vishneva's 1995 appointment as the fastest promotion to Principal - she went from graduation performance to Principal. For the men, I'd say Sarafanov ascended fast. He was originally a recruit from Ukraine and is now with the Mikhailovsky. To answer one of your other questions, when Somova was appointed principal she hadn't made annual as 1st soloist when she got the nod from Fateev. After Maestro Gergiev raised him to interim Director, Fateev immediately promoted Vaziev's wife's pupil (Somova). This was after Makhar Vaziev departed for La Scala. So, that was (almost) bound to happen. In retrospect it was inevitable.

Birdsall I agree with you on some of your examples from the opera. For example, soprano Deborah Voigt made her debut as Brunnhilde in the Met's "Ring Cycle" in 2011 and opinion was definitely divided. One camp said that she was going to be one of the greats in the role, and another camp said that although her diction was exemplary, she was weak in the low registers and couldn't (or chose) not to sustain high notes long enough, (to please certain critics). Does this mean that she doesn't have the temperament for this role, (miscasting), or does it mean she isn't technically ready to sing this role yet? If it's the former, it may be that she isn't a heroic soprano - even though Brunnhilde is in her range and she has the stage presence for it. If it's the latter it may be she hasn't perfected the role yet. After all it was her debut. My point is this: Her presentation, execution and delivery may not have satisfied everyone, (no one can please everyone), but she delivered without one flat note or mistake in the texts of the three operas she appeared in. That's basic technical proficiency which is the foundation to develop a role and one's personal interpretation of a role. This isn't the case with Oxana Skoryk (or Alina Somova). To piggy-back on Cubanmiamiboy's and Mashinka's comments, I'd also like to interject that when Somova started out in leading classical roles, former Director Makhar Vaziev allowed her to simplify the choreography for O/O, Paquita, Kitri, Medora, Nikiya, and Dryad, just to name a few. Compared to the other active Principals and top Soloists on roster in rotation between mid May 2004 when she made her O/O debut and - early summer 2012, (pdds and variations), her Odile; Kitri, the leading role in Paquita, Medora, Nikiya (Act 3) - all of them were simplified. She's never been a pyro-technician, or a classical purist on the same level of the active Primas on the roster. At this moment, neither is Skoryk. On the other hand, IMO Somova has always been outdone and outclassed by her peers. In fact, Aurora (Sergeyev's version), Giselle and the Lavrovsky Juliet are the only roles in her rep (sans the Balanchines, Ratmanskys and works like Millepied's "Without" and "Etudes"), that haven't been altered to her specs (or abilities). I remember when the Mariinsky still performed the 1890 "Beauty" reconstruction, she inserted a different ending in the final passages of Aurora's Act 2 variation (the Gold Fairy's variation). Re Oxana, I suspect that she, (like Alina), may achieve her personal best in the Mariinsky's modern rep, in ballets like Ratmansky's "Cinderella," and "Little Humpbacked Horse." If anything, I think that these are roles she should start out with - not the warhorses. She should now be preparing and perfecting the warhorse roles behind closed doors until she's ready for primetime; and however long it takes is how long it takes. Unfortunately, that's not how Fateev operates. Skoryk is currently going through a baptism by fire because of the maternity leaves in the Principal rank. If Fateev decides to revive Forsythe's rep both ladies would be natural casting for those works. However, he didn't cast Somova in those ballets, and he probably won't cast Skoryk in them either because he believes that they're both diamonds of technical brilliance fit only for Petipa's canon. If Skoryk learns to conquer her stage fright, settles down, and is given the benefit of wise and intelligent guidance, she has a shot to make it. Otherwise, I fear we may see another person who isn't adequately prepared for Principal, nor proven on that level be promoted within the next two years - minimum.

I agree with your points Birdsall, however Somova's issues were never solely based on her hyper-extension. There are many dancers who have hyper-extended hips, knees and weak pointes (as Somova does), and yet they learn (or try) to control their movements. It's a question of the artistic choices that dancers make. In Somova's case it's always been her catch-as-catch can, on again and (mostly) off technique, plus the lack of turnout that have been her problems from day one. She has used her hyper-extension over the years as a failsafe to compensate for her technical deficiencies. She loves to dance - that's evident, and she has dramatic abilities, however, these aren't the sum total of a performance or interpretations of a gallery of roles in a repertory. Reliable technique is the essential other half of that equation. Skoryk and Somova are two different ladies, and very different dancers, yet they are cut from the same aesthetic cloth that Fateev favors. They have two things in common: Both were pushed into the spotlight prematurely, and both have the favor of the powers that be. To say that one who is fearful and somewhat less satisfying than the other who is fearless, but gets consistently mixed results - even after 8.5 years in the spotlight, is like having to choose between liver and liverwurst. In the end, it's all a matter of one's palate.

Ilya, this is a valid point. The last time a famous Bolshoi premier danseur ran both the opera and the ballet it didn't end well: (Vladimir Vasiliev).

Katya Kondaurova will be making her long awaited debut in "Raymonda" on December 5! Her Jean de Brienne will be Yevgeny Ivanchenko . http://www.mariinsky...12/12/5/1_1900/

Skorik as Diana...? I better put on the little half moon tiara on and dancing it myself. I bet you will be getting a better show... ITA with you both. Fateev's velcro management style is based on the "One Size Fits All" theory. Skoryk isn't ready for primetime. She's isn't ready for a Nikiya debut. She's isn't ready yet, and she shouldn't be the first O/O on shore ahead of the adults, namely, Uliana and Katya K. With Fateev, it doesn't matter what the results have been, what they are, (or what they will be). Win, place or show, it's his way or the highway. Unfortunately for Oxana, she's been placed under tremendous pressure to deliver and she's not "there" yet. Plus this is happening to her at a time when the company is short on active Principals due to injury and pregnancies. She hasn't mastered her nerves, which adversely effects her technique (that which exists), and stagecraft. Therefore, for those two reasons alone she's isn't reliable enough (yet) to be a 1st Soloist; that's premature. At best she should be a coryphee, because that rank is where she's "at" right now. IMO the prudent career track for Oxana would be infrequent matinees with no opening nights; drastically diminished touring with intensive coaching until she begins to improve and developan interpretation. After this, when she's at minimum sufficiently proficient, and has a record of proof in that respect, then she may be given more opportunities and move on to the next major role. You have to learn to walk before you can run. If Oxana remains below par, grab Dasha Pavlenko and reinstate her as O/O and Nikiya. Here's another option in addition to Pavlenko: Olesya Novikova. She's an impeccable 1st Soloist who not only deserves that rank - and better, but has been waiting patiently for her first follow up O/O following her debut with her home company. She also had to make her Nikiya debut with the Mikhailovsky in July 2011. She's overdue for a Mariinsky Nikiya debut. It's not that Fateev doesn't have a treasure trove of highly capable artists. That's not the problem; connect the dots.

Per Yuri Fateev's endorsement of Skoryk, (and her most famous, or shall I say, infamous, immediate predecessor), the characteristics that he favors and looks for are indeed subjective. Physical characteristics trump technique, talent and artistry. His view is the prevailing aesthetic in the company right now. Once he has decided to "Mr. Lermontov" a young dancer, one must understand that what you're watching unfold is an experiment. It's an experiment that's being conducted on the dancer, and on us, the audience. This is the same play with new actors.Here's the thing. Fateev will hype a dancer at home, frequently cast that dancer, and build up that dancer in the media before a major tour. This will build curiosity, put a new name out there to generate chatter for publicity, and to sell tickets. That's nothing unsual. A new wunderkind is promo'd to the hilt, and then, whatever the outcome, he lets the chips fall where they may without changing course. This is key: He doesn't change course, and that's the problem. For example, I reference the opening night of the Mariinsky at Covent Garden on August 9, 2009 with the Lavrovsky, "Romeo & Juliet." The media hype preceded the media fallout after the first night. There were a few critics who grasped for excuses, but the consensus was near unanimous. Each leading Mariinsky ballerina who appeared after opening night, mounted a collective salvage operation for the engagement after the opening night Juliet made her debut in the role, then put the period on the engagement as Aurora. Fast forward: October 2012, prior to the U.S. tour he's short two principals and another 1st soloist due to pregnancies. How does he cover the absent dancers? Fortunately, he has two able dancers, a prima (highly capable), and another 1st soloist, 2/3 of whom divided the "Lakes," with Oxana. Here's the problem. Fateev majors in the minors, acknowledges the superficial as important (his Swan Queen's ideal physique), and, without looking ahead to the future, doesn't seem interested in developing those he doesn't favor or meet his criteria. There are many people in the company who are highly capable of stepping up to leading roles, and yet are never cast nor packed for a major tour. Life's vicissitudes - such as multiple pregnancies can and do happen. As Director of the ballet (interim or permanent), it's part of the job to at least be prepared for things like this. Under the circumstances, Fateev coped as well as can be expected. But what if he didn't have Kondaurova or Kolegova to step in? Both Lopatkina and Vishneva were unavailable. Dasha Pavlenko (still) hasn't resumed O/O, so what would've been his options? Perhaps this situation might be a management wake up call. As Catherine stated earlier, everyone who works in the Mariinsky Theatre is subordinate to Maestro Gergiev. It's been obvious, (at least to me), for years that he's quite happy with the Ballet's condition. Additionally, he's extremely happy with the affirmative stance that Fateev takes as 'yes man' re Maestro's leadership and policies. In the case of Skoryk, I haven't seen her live, however, based on the reports posted here, and having read different official reviews, I believe that she does have potential. However, right now, it seems that she isn't ripe for the rank of 1st Soloist, let alone ready for primetime in leading roles, nor the central assignment on opening nights. That said, she requires alot of guidance and preparation, just like anyone; especially someone who has been Fateev-tapped for Principal Dancer. If she can't deliver when it counts, she needs to be held back until and unless she can do so - and with consistency.

My favorites are Marc Haegeman, Gene Schiavone, Natasha Rezina and Martha Swope.

I'm going to go slightly for a moment. IMO I think it's high time that the Mariinsky seriously reconsider this out of date 1950 Soviet ending and change it. Unfortunately, they refuse to toss any of Konstantin Sergeyev's Petipa redactions, out of respect for him and his legacy. The Mariinsky has shunned the Petipa reconstructions, and in the cases of "Bayadere," and "Sleeping Beauty," retired these recon productions. I've always thought that if they added the ultimate bars of the original 1877 finale, (like POB for instance), along with the tragic ending (which is in the 1895 based production that's done at Covent Garden, and other companies), it would be a great improvement. Or, if they insist that Rothbart must die, have him expire offstage in the ruins of his castle and/or have him go up in flames a la " Götterdämmerung." That concept might work. In 2012, playing one on one "grab your wing" doesn't work anymore - not even with the company's most dramatic premier dansuers. Sergeyev's "Raymonda," "Sleeping Beauty," and this production are pure dance. I really think that the Mariinsky's primas such as Lopatkina, Kondaurova, Tereshkina, Vishneva, (and Pavlenko) require a tragic ending in this ballet because their interpretations dictate the need for this, and it was the composer's original intent. Back to topic -!

There was a +10 minute standing ovation last night. After the corps came forward for their grande reverence, Kondaurova and Ivanchenko came forward with the ensemble and the audience at once rose out of their seats with cries of “Brava!” Their adulation was for the prima ballerina and her corps moreso than the hero. I hope that I can adequately explain below why this was the case. Last night, Ekaterina Kondaurova danced an epic performance of Odette/Odile. This Swan Queen dominated the stage and the corps, not only by her presence, but by the brilliance of her technique, her aesthetic, and her concept of a woman trapped in a spell with no hope. Her Odette was exemplary. She thoroughly exhibited those characteristics that separate the good O/Os from the great ones. She was at once, majestic, vulnerable, proud, tender, anxious and submissive to her Prince in the white acts, and resolute, confident, self-absorbed and ruthless in the 2nd Act. The white pdd with the Prince exhibited all of these qualities, including deep, fluid, abiding grace. During the scene 2 curtain call, she was all modesty, assuming the folded wings in tendu with lowered head, along with the swan maidens behind her. In the 2nd act her Odile appeared with the impact of an RPG. This Odile unleashed technical ordinance the likes of which I haven’t seen in this company since the days when her former coach Olga Tchyentchikova danced the role, or in the early –mid 2000s when Daria Pavlenko (used) to be cast. She executed her fouttes sur place in sharp doubles and triples, ending in extended 5th as if they were mere child’s play. Her final act was the summation of her second scene as her final diagonal in the last pdd and her release from the spell reached new pathos. The corps de ballet was, in a word, flawless. Many thanks and kudos go to corps coach Nina Ukhova for this. The special stamp of her diligence and care enveloped all 32 swans. This was Vinogradov Era perfection. They moved and danced as one. The cygnets, Marina Shirinkina, Svetlana Ivanova, Elena Chmil, and Anastasia Mikheykina likewise were flawless. They were a well matched quartet: (Someone talked to Fateev). The Big Swans, gave us new recruit, the American, Keenan Kampa, Yuliana Chereshkevich, Victoria Brileva and Yulia Stepanova. They were equally well matched and exuded the broad and sweeping movements of the dance. The opening waltz was fluid with energy and soft grace. The pas de trois, with Nadezhda Gonchar, Xander Parish (formerly of the Royal Ballet), and Ekaterina Ivannikova was exceptionally danced. Gonchar and Ivannikova delineated the steps extremely well, with high elevation and clear pointe work, and Parish was quite powerful in his variation. Hopefully, he will receive more opportunities other than this pdt, the Poet in “Chopiniana,” and few other minor roles to showcase his talents. Elena Bazhenova’s Princess Mother looked absolutely beautiful and mimed with regal authority. Soslan Kulaev, a doting and narcoleptic tutor (who took a curtain call after Scene 1), Alexey Nedviga was a jovial and buoyant Jester. Konstantin Zverev was a Rothbart of exquisite line and elevation. In his death scene he really writhed in anguish and was very dramatic, (re the Prince’s “reaction,”anon, it’s looming ever closer). The character dances were dispatched as usual with consummate Mariinsky expertise and élan. The Spanish, Venetian, Hungarian dances and the Mazurka were all well done. The Spanish was led by Anastasia Petushkova, Yulia Stepanova, Kamil Yangurazov, Karen Ionessian; The Venetian (Neopolitan), was led by a perky Anna Lavrinenko and Ilya Petrov, and the Mazurka was danced by Lilia Lischuk, Xenia Dubrovina, Lyubov Kozaharskaya, Irina Prokofieva, Alexander Beloborodov, Mikhail Degatyrev, Alexei Kuzmin and (the tutor) Soslan Kulaev. However the top honors go to Olga Belika and Boris Zhurilov who led the Hungarians: They poured paprika on that czardas! “Swan Lake” is supposed to be not only the story of a woman’s plight, but also the story of a young man’s quest and first love. Kondaurova’s Prince Siegfried was Yevgeny Ivanchenko. Overall, his performance last night brought to my mind 1992 Presidential candidate Ross Perrot’s running mate, Admiral James Stockdale’s opening statement during the Vice Presidential Debate: “Who am I? Why am I here?” This was the impression given by Ivanchenko, and the expression on his face during the entire performance. Ivanchenko is one of the Mariinsky premiere danseurs who seems more focused on getting steps right and landing well, than developing a clear, coherent and decisive interpretation of a role. His repertory includes all the Princes of Petipa’s canon, including Romeo et.al.. Last night Yevgeny Ivanchenko didn’t seem worthy of such an O/O. What we had was an intense O/O paired with a passive Siegfried. For example, when he first appeared in Scene 1 there were crickets until a substantial part of the audience thought about 25 seconds later that, “Oh it’s the Prince” and deigned to applaud. That’s the best way to describe his presence in a nutshell. He is a wonderful, and competent dancer but when paired with an intense prima ballerina like Kondaurova, he fades into the scenery, and is one dancer among many. Here’s another example. In his Act 2 variation, he literally walked (and I mean a normal pace – not presented, devoid of dance) to the throne for his preparation before the sweeps toward the pit for the end. If he could learn to combine emotional investment with technical ability, and if he could have found that synergy, he might have been Kondaurova’s match. Elizabeth Kaye (more on her in a moment), mentioned in the pre-performance chat that when she spoke with Nureyev, he told her that Natalia Dudinskaya had given him this advice: “’ She said to ‘ “…make performance; and to sparkle.’” Last night, the O/O made a performance and sparkled, the Siegfried did not. Pre-performance Trivia: Last night, I had to go on a safari to get a program book. Usually, these are passed out to patrons in the foyer once you gain admission. They were still in the boxes and for some unknown reason, the ushers were reluctant to pass them out. We were told that they “… would pass them out when the audience is (seated) near capacity.” I know, that doesn’t make sense. Needless to say, they should re-think that policy. Elizabeth Kaye, author “American Ballet Theatre: A 25 Year Retrospective,” presented a detailed biography of Tchaikovsky’s life, commenting on everything you ever wanted to know about the composer, but were afraid to ask, such as: His parents, the death of his mother, his childhood, his academic career at the St. Petersburg School of Jurisprudence, his attempted suicide after his wedding to Antonina Milyukova, how his brother Modest saved him from drowning, etc. She also covered the history of the ballet, in snippets, and how it evolved from a family entertainment for his nieces and nephews, to the 1877 Moscow premiere, why he wrote “Eugene Onegin,” how he was in love with the character of Tatiana, and how Siegfried was the name he chose for the Prince because of his fascination with Wagner’s “Ring Cycle.” She tied all this together stating that his attempted suicide, and all of the other extenuating circumstances in his life up to that moment were poured into his music for “Swan Lake.” The ballet history was correct until she mentioned that the Mariinsky’s current production, (which premiered in 1950), was premiered by Konstantin Sergeyev - in 1890. The Music Corner: Mikhail Agrest led a very small troop of Mariinsky Orchestra members. The musicians played the score with swift and sweeping passion, as Agrest guided them through what was an ideally paced and satisfying performance. In fact, the contingent seemed so small that either they were playing very, very softly, or the volume on the Hall speakers was turned down very low. I think it was the latter. When they brought “Don Quixote,” the speakers were so loud that if you were in the first 15 rows, one might have experienced body waves. When Agrest came onstage to kiss Kondaurova’s hand, it was a wonderful moment. I’m happy to report that the Mariinsky conducting staff’s prêt-a-porter black silk pajama trend has ended, at least with Mr. Agrest. He was resplendent in a well tailored traditional dark suit. Brava Mariinsky!

The Bolshoi Ballet will be giving it's premiere performances of Balanchine's "Apollo," starting tomorrow evening, October 4. Olga Smirnova will make her debut as first cast Terpsichore to Semyon Chudin's Apollo. Evgenia Obraztsova will dance Terpsichore to Artem Ovcharenko's Apollo Friday night, October 5. This will be Obraztsova's Bolshoi debut in the role, as she danced Terpsichore several years ago when she was still in the Mariinsky. http://www.bolshoi.r...#20121004190000 http://www.bolshoi.r...#20121005190000

Olesya looks fabulous! Brava ! I've never seen her more confident: This is her's. Re the Act 2 variation, she made an artistic choice, (perhaps even a tactical and political choice), given what the Management thinks about Petipa reconstructions. We all know what she's capable of. Minor point of clarification: The Mariinsky site's write up made a slight mistake. This opening night performance wasn't her debut as Raymonda in the Mariinsky Theatre; that occured about 5 years ago. This was her first follow-up performance at home, and it's been long overdue. Moreover, this is her first season opening performance. This is a great accomplishment for her as well as a milestone. However, this was Volodya Shklyarov's debut in the role of Jean de Brienne. The company performs "Raymonda" again on March 28.

I'm one of the patrons who pulled an Usain Bolt and exchanged Nastya Kolegova's Saturday matinee for Katya's Friday evening performance.

Andrei left during Vaziev's tenure. At that time Vaziev actively recruited outsiders to flesh out the male ranks, because the Academy hadn't graduated very many promising young men who could immediately be placed center stage to partner the primas. What Vaziev tried to do was make instant stars who went straight from the Academy to leading roles and principal status. In this he was successful with Diana Vishneva and Svetlana Zakharova. However, when Zakharova left for the Bolshoi, he focused on trying to triplicate these successes with Alina Somova. Prior to Zakharova's departure, the company had already lost Dmitri Semionov *(Polina's brother), and Natalia Sologub among others. Like Andrei, Sarafanov was also one of the outside recruits. He came from Kiev and joined the Mariinsky in 2002. It would be interesting to also note that another transfer to the Bolshoi - Misha Lobhukin graduated from Vaganova Academy in 2002 the same year that Sarafanov was hired. He was homegrown. But, like Andrei, Misha also toiled in supporting roles for years before leaving for Moscow. During this time it was Sarafanov who got the Principal nod, even though other men were no less talented or deserving of recognition. Andrei was trained in Ufa and after he graduated in 1996, he started in Ufa's Komi Republic Ballet. In 1997 he came to Petersburg and became a leading member of the Mikhailovsky, (the Mussorgsky pre-Vladimir Kehkman), for three years, before joining the Mariinsky in 2001. In 2000 he won 2nd prize in the Perm Arabesque Competition, and 2nd prize at the 2001 Kazan International Competition of Young Ballet Dancers. By the time he came to the Mariinsky, he wasn't without chops or principal experience. He won the 2005 Golden Mask. When that didn't move him on the game board, he joined the Bolshoi in 2006.

The principal casts for Orange County are status quo as well: http://scfta.org/hom...D=1307&NavID=91 The best thing with this engagement - so far, (note the " * "), is that Tereshkina gets opening night. Unfortunately, the best active O/O in the company (Lopatkina) will not be on this tour. "Mystifying" you say? Look at the 2nd, 3rd, 5th and 6th evening casts. The newest Principal (Kondaurova), gets one performance - and it's brunch patrol (the matinee). She also gets the Berkeley matinee. At the OC, this 2006 Benois, 2008 Golden Sophit, 2010 Golden Mask, and 2011 Spirit of Dance award winning prima will perform just hours before you know who. Yes: Once again, it is she. The other Mlle. S. will also get two performances. IMO, neither one of them should have gotten more evening performances on the upcoming tour over Kondaurova in this ballet. If you compare Kondaurova with these two there's no comparison. The one shouldn't get the nod because of deficient seniority, rank and capability, and the other shouldn't because of deficient seniority and lack of ability. I don't think I need to spell out which 'one's' I mean. Kolegova is also getting two evening performances in Berkeley. What can one say? I'm just grateful that Kondaurova (and Kolegova) are being packed for this engagement at all. Jayne wrote: " 'Well, which "dead wood" would you peel away? Which dancers would you promote?' " Principal rank (women) - Nioradze & Makhalina. Promote Novikova, Osmolkina, Selina or Ivanova to fill their places. Lopatkina, Vishneva, (and if Fateev ever chooses to put her back in the game) - Pavlenko, are still in their prime. Principal rank (men) - Zelensky is A.D. at the Stanislavsky in Moscow now. Before this appointment he was A.D. in Novosibirsk, making rare guest appearances in Petersburg. He doesn't do this now - at least not frequently enough to remain on the roster. One or more of the following gentlemen could flesh out the rank, take some of the pressure off Shklyarov and could be further developed to take Kolb and Korsuntsev's spots in a few years: Steppin, Zyuzin, Sergeev, Zverev, or Timofeyev. Askerov is new, and still an unknown quantity, but Fateev seems to be pushing him now. Batalov, alas, has been on the bench since the mid 90s and his time has sadly passed. The soloist ranks are top heavy and overloaded with a wealth of talent, as are the coryphee and corps ranks. This dilemma, and Fateev's seeming inability to develop in-house talent and address this issue has already been covered. Re promotions in the Mariinsky: A woman must perform O/O in the Mariinsky Theatre to be eligible for promotion to principal. If you've performed it elsewhere and came from the outside, bringing the experience with you, you are allowed to do it. For example, in the past Tchyentchikova-Vazieva and Kunakova both came from Perm, did it there, and became Mariinsky stars. In recent years, Kolegova came from the Tkachine, Eifman and the Lithuanian company in Vilnius. She joined as a 1st soloist, and she did it. Matvienko was Principal at the Mikhailovsky, joined as a 1st soloist and she did it. 2nd soloist, Elena Yevseyeva came from the Mikhailovsky, and joined four years ago. She danced O/O there as well as Raymonda, Medora, Giselle, Aurora and Kitri: She hasn't been given a debut yet. One gets O/O only if The Management 1) Decides that you 'can' do it and that you have the technique, physique, temperament, are suited for it and they want you to do it; and 2) See point #1. Their idea of "emploi" is a huge factor here. Of course there have been a few exceptions where one becomes Principal without having done so - Vishneva for example. But she waited 10 years for her hometown debut. Obraztsova, Vishneva and Novikova made their debuts elsewhere. Each of them outsourced the role; but Vishneva and Novikova eventually got their Mariinsky debuts. Obraztsova made her debut at the Stan in Moscow, and moved on to become a Bolshoi Principal. Had she stayed, she most likely would still be a 1st Soloist, and still wouldn't be given her shot - regardless of the Moscow debut. Now, it's not that hard and fast a rule for Siegfried for the men, but in general it's 'The Rule' for the women. So, to recap, a woman isn't eligible for promotion to principal without having completed a performance O/O in that opera house or on tour. They don't recognize that you have "done it," if you haven't done it with them. Golub has yet to make her debut as O/O, as well as Selina and many others who deserve their chance and have waited years for it. Time will tell whether they'll get their opportunity. However, even if one finally gets a debut, unless that person is highly favored by the management, even that is no guarantee that person will (ever?) get another performance, (i.e. Novikova and Osmolkina).

I've been watching this company for over 30 years. I'm ITA with you: When they're on, they're on. Fortunately, you've seen some well matched quartets. However, in the course of this time I can recall a few that weren't together; it's the law of averages. But this phenomenon has occured moreso in the last few years. There was a group where it looked like the slope from baseline to midpoint. For example, I remember when Golub was placed in the middle next to Novikova on the left end, with Ivanova on her right, for goodness sake -> . I'm ITA with you re stagnant casting. It used to be that little swans and big swans was a showcase for promotional talent. It's become a one or two season assignment for some corps members and soloists that you've mentioned. For example, you're right that Elizaveta Cheprasova was hardly ever seen except as a cygnet - or as Masha in the Chemiakin "Nutcracker," so I can understand why she left. In retrospect, at least Makhar Vaziev was a good manager: He communicated with his dancers, he was a competent developer, with the glaring exception of his second protegee after Zakharova left for the Bolshoi, (Somova). However, a brace of dancers left during his tenure - Zakharova included. And yet, even he wasn't as singularly successful an administrator and Artistic Director as Oleg Vinogradov: The company was unconscious flawless during Vinogradov's tenure (1977-1994). Here's something else that may be a factor: The Mariinsky is a repertory company, and along with the opera and orchestra average between 250 - 300 or more performances a year. That said, they perform and tour alot more now than they ever did in the Soviet era. This takes a great toll on the dancers. The problem with a repertory company with that kind of workload, is that unlike the opera, which can change composers and styles on a nightly basis, a variety of diverse ballets staged with that kind of frequency doesn't always fare as well or as seamlessly. There's less rehearsal time, less preparation. This company is in an opera house where they are the poor stepchild to the singers and the muzak. Yet, they're expected to swing from Ratmansky, to Petipa, to Balanchine, to Bournonville, to Wheeldon, Millepied, Forsythe, Fokine, etc. all within a week. Moreover, during the last few years, some under utilized dancers have been assigned to perform in the Mariinsky Orchestra's Concert Hall, in assorted theme based programs when the opera is on the main stage. The concert hall's stage was designed specifically for the Orchestra, not dancers. It's not a suitable venue for ballet. Fortunately, a new theatre is being built as the Mariinsky's second stage across the canal behind the historical opera house. As director, it's Fateev's responsibility to maintain a standard of excellence and navigate the company through these issues. Perhaps he might do better if the focus were on 1-3 priorities, and not several per week. Vinogradov, and to some extent in the mid 90s Vaziev at the start of his tenure, didn't have this workload. There's one thing about POB, the Royal and ENB as examples: They do modern in blocks of time, and they do classical in blocks of time. They don't change styles overnight in the course of a week like the Mariinsky does. IMO I'd say that during 2011-2012 season the company danced "Giselle," and "La Sylphide" better than anything else - and that includes the Petipa and modern repertory. I don't think this was due to just affinity of style that they've been trained in; but program length and demands on the corps and principals - no matter who they were.

Fateev worked in Seattle on Balanchine stagings, and Francia Russell, one of Balanchine's earliest hand-picked (in the 60's) stagers and one of the ballet's most respected, said very good things about him, and she's not the easiest person in the world to please. It's great that Russell said good things about him, but would she have considered, (or agreed) that he was her pedagogical equal re Balanchine style? Balanchine's repertory at the Mariinsky, (which is a short list of works), is in the same shape as the Petipa/Sergeyev repertory. It's the same issue for the entire rep that's on the active schedule - management policy and his casting decisions. We'll see what happens with the new season next month. He neglects in-house rank development and depends on the usual eggs in the basket to deliver the goods. As a result they fall short more often than not, but this doesn't stop him from casting them. The best suited are infrequently cast. A bright spot was the recent premiere of Balanchine's "A Midsummer Night's Dream" during the recent White NIghts Festival. This was thoughtfully and successfully cast. This should be the norm, and I hope this starts a trend. In the meantime, the company's nominal strength is being diluted as other posters have noted. To put this in perspective, POB excels in ecclectic variety and does so masterfully without sacrificing its traditions. The Mariinsky Ballet under Yuri Fateev's leadership doesn't do it nearly as well.

I'm sorry that I'm late to this discussion. I won't go over the many demerits of the Fateev regime or his predecessor's (Makhar Vaziev) here. They all can be found in this link and elsewhere on this site. The casting decisions are made by Mr. Fateev and rubber stamped by his Amen Corner, (the stage managers, subordinates i.e. ballet masters and ballet mistresses, and the sycophants of his favorites - people that he wants to promote), who tow his party line. Fateev considers himself a trailblazer - a prescient talent-spotter and strong developer of "future stars," and a (self-styled) Balanchine expert. Fateev's management is quite simply the continuation of his former supervisor's aesthetic and casting policies - on steroids. Also, I'm ITA with those who have posted here lamenting the fallen standards of the company, which is again a direct result of the current and prior management. For example, most of the world's major ensembles are able to cast and match, in technique, temperament and physically the little swans in "Swan Lake." For about five seasons now, Fateev has consistently failed to do this. I hope that these are just the casts that I've seen in this timeline. Now, this example may be nit-picking - but for this company? This never used to be thus. This is something that other directors seem to be able to handle. It used to be that an aberration like this was unheard of in the Mariinsky. This is just one example of Fateev's casting the supporting roles; there's no need to review his egregious miscasting of the major roles. How did it come to this? As I've stated before, one of the main contributing factors is that the Maestro (who appoints the ballet's directors), is focused solely on the opera and the orchestra. For example, the Theatre's site reflects this fact and has evolved in recent years to reflect this fact. The ballet company remains on auto-pilot; and is seen by the Maestro as '... oh yes, they perform here too.' That's the attitude. What we see now is the result of these policies made manifest. I also won't get into the overt favoritism that's been practiced re the "faithful few" over vastly superior dancers; the ongoing snubs, the hiring of non-homogenous dancers, the blatant disrespect and loss of comparatively stellar (and potential) personnel. These subjects have been covered. Former Mariinsky primas who have much to offer re the Mariinsky's tradition (for example Ayupova and Makhalina), are driven to other theatres to coach like the former, or are barred from coaching the next generation like the latter. Dead wood at the top isn't removed (retired), subsequently there's little to no movement in the ranks, and promotions come as frequently as Halley's Comet. I always look to next year's harvest. Sure enough, there is usually a small handful (sometimes, just one) on whose shoulders the company's hopes are pinned. I don't know what the end game will be. I will contend that right now in Russia the epicenter, the creative momentum, and the cutting edge pendulum of classical ballet has swung back to the companies in Moscow, primarily the Bolshoi. That argument may be a topic for another thread. However, it's a fact that for the last few years the Bolshoi, the Stanislavsky, and the Perm company have taken top ensemble/production honors over the Mariinsky and it's entries (if nominated) re Russia's highest theatrical award, the Golden Mask. Finally, as for Uliana Lopatkina she doesn't make or influence casting policy, but she does wield great influence with Maestro Gergiev.

I'm ITA with you . Nothing is etched in stone - until the curtain rises. It would be a big deal at the Bolshoi if Anderson chose other soloists besides 'the usual people,' as they say in Russia. In which case he may have a narrow set of pairs to choose from. For example, Zakharova has never been cast as Tatiana at La Scala (or elsewhere), and doesn't have the role in her rep. This will be the Russian premiere: She may want to do it now for that reason. Since the Bolshoi has officially acquired the ballet, (due to the announcement with dates), I'd be surprised if Anderson hasn't already determined who his Tatianas and Evgenys are. Moreover, Filin and Anderson may already be in simpatico re the leads. Maria Eichwald danced Tatiana at La Scala last season, and is set to open their season with Bolle as Onegin in early September. Tamara Rojo did dance Tatiana when she first joined the Royal.

Hi Rosa, Onegin: I'd place heavy $s on Dave Hallberg with Zakharova. Ruslan Skvortsov, Semyon Chudin, Alexander Volchkov, Misha Lobhukin and Dmitri Gudanov round out the male principals. I'd love to see Tsiskaridze participate in the production as well. Lensky: I'd say any of the male soloists and leading soloists could be cast. The Bolshoi has always had deep male reserves in its ranks. IMO Chudin and Svortsov could essay both Onegin and Lensky. Olga: Olga Smirnova, Anzhelina Vorontsova, Anna Nikulina and other ladies from the soloist ranks. Tatiana: The active primas, i.e. Zakharova, Alexandrova, Kaptsova, Krysanova, Allash, Shipulina and Obraztsova. Smirnova and Obraztsova could essay both sisters. It will be very interesting to see how Filin will choose to pair the protagonists.

She made her debut as Odette/Odile at home way back in the beginning of 2009, the same year she guested with the Royal Ballet in their Swan Lake production. I am not sure if the Mariinsky has given her more performances of the role since then or not. Katya Osmolkina hasn't followed up her O/O debut, and is rarely cast. If she's cast it's usually the pdt. To date, her two follow-ups were with the Royal. She's not alone. Olesya Novikova made her Mariinsky debut last summer with Alexander Sergeev and hasn't yet been given a follow-up either. Prior to that, she made her inaugural debut with the Novosibirsk company, and danced it with her husband Leonid Sarafanov in July 2010 during that company's Paris engagement at the Theatre du Chatelet. Osmolkina waited for O/O for a decade, Novikova for nine years, and Obraztsova waited for nine years and never got it: She wasn't considered for the role and outsourced her debut at Moscow's Stanislavsky. Vishneva waited a decade before she was granted her Mariinsky debut in Sept. 2005. She also outsourced her O/O prior to her homecoming. If you do the math that's a 'wait' of 38 years between them. For the last two years the O/Os in heavy rotation have been Lopatkina, Tereshkina, Kondaurova, Somova and Skoryk, with occaisional appearances from Vishneva. Prior to Skoryk's debut, Kolegova and Matvienko were frequently apart of the hometown line up, but not for the last two seasons.

The Bolshoi Theatre recently announced its plans for 2012-2013. The Ballet will present a new production of "La Bayadere," "Apollo," revive Grigorovich's "Ivan the Terrible," produce no less than five live broadcasts for Ballet in Cinema, and will give the Russian premiere of Cranko's "Onegin." http://www.bolshoi.r...N%20ENGLISH.pdf

I'm ITA with you Helene. I remember an old interview with Carla Fracci. She mentioned that when she first began lobbying for "Giselle" to be presented at La Scala, she stated that not one conductor on the staff wanted to be assigned to conduct the ballet. Why did they initially reject it? In their opinion the score had no merit and they thought that the music was "...awful."

Irina Zhelonkina was one of the few remaining exemplars of a bygone generation whose style is (really) no longer in vogue at the Mariinsky. I hope that she will teach and pass on her wealth of knowledge.

Congratulations Mlle. Ould-Braham!! ITA re Emmanuel; hopefully he's next in line for Etoile .