Cygnet

Fraildove, Yuri Fateev is the Captain Schettino of the Mariinsky Ballet.

Wherever Obraztsova lands, she'll thrive and excel. Now she's "free and clear to navigate," and will make even more bank ! On the lower tone, this is the Mariinsky's loss: Epic fail on the management's part.

Natalia, thank you for your excellent and vivid reviews! Kondaurova and Dasha ... they just can't put a foot wrong . Kudos to both ladies ! Re Dasha, some trivia: It has been 6.5 years since she's danced on American soil. I'm so excited for her that she and Katya are having such a rewarding engagement!

Thanks Natalia for the excellent review! I'm so happy to hear that Kondaurova was outstanding as Firebird . What a treat for DC! Also, kudos to Shirinkina for a fine performance in "Chopiniana," despite her short absence from the stage for several measures of her variation . Volodya is partnering Somova at HQ in "Giselle" on January 21; he has to prep for that. Sergeev isn't cast in any ballets this month. It would've been wonderful for him to be here with his wife. I think that Fateev cast Korsuntsev as the Slave because he's Lopatkina's main partner, she's comfortable with him, but most of all he's tall enough to partner her. However, it would have been wonderful to see Uliana, Dasha and Katya share the honors "Scheherezade"- Korsuntsev and Kolb too.

In addition to Aurora on January 12, Obraztsova will be adding two more Bolshoi Theatre debuts in early February. On February 2, she will dance the title role in Vladimir Vasiliev's "Anyuta," which he choreographed especially for his wife, the late Maximova. On February 8, Obraztsova will dance one of her signature roles, the title role in "La Sylphide." http://www.evgeniaobraztsova.com/ The Bolshoi's February playbill schedule lists "Anyuta" and "La Sylphide" however, so far the links for these ballets only show the production histories and pics. Cast lists should be uploaded by the end of January. http://www.bolshoi.r...etable/#2012-02 *Obraztsova's previously scheduled Mariinsky "Giselle" (ref. 12/24/11 post above), will be danced by Ekaterina Osmolkina. http://www.mariinsky...12/1/15/1_1900/ "Fraildove" wrote: These are good questions Fraildove. Filin is giving her very nice, showcase assignments. I think the key phrase is that she's the Bolshoi's guest artist this season. She's also a guest principal dancer at the Stanislavsky Theatre (since 2010). Filin was the Stan's AD before his Bolshoi appointment. If Filin invites her to change her affiliation, (and she accepts), I wouldn't be surprised, and I wouldn't blame her. If she stays at the Mariinsky, that wouldn't surprise me either. She has spent more time in Moscow and abroad guesting. At this point, whenever the Mariinsky casts her at home or on company tours in major roles, it's like a Pyrrhic victory for her. For example, this is one Mariinsky ballerina who had to make her debuts as Kitri, Raymonda and Odette/Odile elsewhere. The Mariinsky vetoes her requests to essay O/O and Raymonda at home. She made her debut as Kitri in Tokyo with TNB. She made her Raymonda debut on tour in Bangkok with the Bashkir Theatre of Opera and Ballet. She made her O/O debut last year at the Stan, and danced her next two follow-ups just before the New Year with the Kremlin Ballet in Athens. Obraztsova's not the only one - Vishneva and Osmolkina both waited 10 years before their Mariinsky debuts as O/O. She outsources roles that she's denied at home. Also, consider this: Right now may not be the right time for Filin to make an offer or for her to move. Jayne alluded to this in her post. What? Should she leave one political hot house for the biggest one in the nation? We all know that the 2010-2011, (and now) the 2011-2012 seasons have already been very eventful ones for the Bolshoi Theatre - on a number of fronts. I don't think I overstate. One thing is for sure: Wherever Obraztsova goes and whatever she dances, no matter what the circumstances, she excels - she goes from strength to strength. Qué sera sera.

Hi Bart Birdsall! FYI "Legend of Love" was Yuri Grigorovich's second great success. It remains a favorite in the Russian rep. That ballet and his redux of "The Stone Flower," (Prokofiev's last ballet), put him at the forefront of Soviet ballet choreographers. "Stone Flower" was his first big success. When he mounted his version of "Spartacus" in 1968, that supplanted Jacobson's version and he was the undisputed "choreographer of the Party." That ballet and everyone concerned with it received numerous Soviet awards and titles. "Legend" was created on Yuri Grigorovich's first wife, the great but often unsung Kirov (Mariinsky) prima, Alla Shelest. Shelest was the "officially unremarked" rival of Natalia Dudinskaya, who with her husband Konstantin Sergeyev ruled the Kirov company from the late 40s through the late 60s. The ballet's success was due to Shelest's prodigious technical and dramatic abilities. The roles of Shirine and Queen Mekhemene Banu were both created on Shelest by Grigorovich. She was one of the great dance actresses of Russian ballet, a ballerina whose talent Ulanova and Plisetskaya revered; and they both worshipped her as a unique artist. She was the only one among their colleagues that these primas pronounced a "genius." After "Legend's" premiere, Grigorovich was "sent" to the Bolshoi, where his influence hasn't waned in +50 years. HAPPY NEW YEAR EVERYONE !

Yevgenia Obraztsova will guest as Aurora in Grigorovich's new production of "The Sleeping Beauty," at Bolshoi Theatre on January 12, 2012. She will also make a rare appearance on her home stage in "Giselle" on January 15, 2012. Obraztsova will be the first active Mariinsky female, (principal or soloist), to lead a performance in the newly restored, historic Bolshoi Theatre. When she guested as Kitri a few months ago she danced in their New Theatre, a few weeks before the Re-opening Gala. http://www.bolshoi.r...#20120112190000 http://www.mariinsky...12/1/15/1_1900/

I'm a few weeks late to this news but this is absolutely wonderful! Congratulations to Katya Krysanova !

I say that Nacho Duato shouldn't have ever touched it - at all.

Hi EvilNinjaX and Cliff . It seems like this will be the only webcast. Osipova and Vasiliev have been with the Mikhailovsky for almost three weeks since their final Bolshoi performance in "Don Q" November 27 Their first performance at the Mik was in the "Rossini Pas Deux" on December 1, during the Mikhailovsky Theatre Grand Prix. Osipova and Vasiliev will dancing in this new production on December 28, 29 and 30.

Nacho Duato's new version of "The Sleeping Beauty" for St. Petersburg's Mikhailovsky Ballet will be broadcast live online December 20, 2011, 7:00 p.m. MSD. http://www.mikhailovsky.ru/en/live/ See http://www.timeandda.../converter.html for time zone conversions.

This is a Kennedy Center sneak preview and a rare occurence. Daria Pavlenko and her husband Alexander Sergeev are interviewed with scenes of their "Giselle" from the Mariinsky Theatre . http://news.bbc.co.u...ack/9653088.stm

According to her site, Zakharova will be participating in Nacho Duato's new production of "The Sleeping Beauty" which premieres in December. However, the Mikhailovsky site has not yet announced the casts. The new production premieres December 16. Zakharova will appear December 18 & 20. First the Vasilievi relocate, then Kolya Tsiskaridze partners Lopatkina in "Diamonds" at the 11th hour at the Mariinsky. And now, Zakharova will appear at the Mikhailovsky as well, and in the new (and bound to be controversial) Duato "Beauty." http://www.svetlana-...m/Calendar.html http://www.mikhailov...11-12-18&sh=925 (please see live journal clip). Additionally, production designer Angelina Atlagić comments on her thoughts of the fairy tale, Duato's vision of "Sleeping Beauty" and what she and Duato mean to accomplish. http://www.mikhailov...ving-in-a-dream

Exactly. One of the major problems at the Mariinsky is not only the soloist traffic jam in the 1st & 2nd ranks (male and female), but the languishing of transplants who were principals in other theatres, and are "slumming" now. For example, the Matvienki (Denis and wife Nastya - they're leaving), Nastya Kolegova (left the Mik as a Principal, mainly been relegated to occaisional O/Os, and hardly ever tours with the " 'A' Team"), and Y. Smelakov, a Golden Mask winner from the Eifman Ballet. There are others who are part of the what I call the Mariinsky Soubrette Army that make up the majority of females in the 1st and 2nd soloist ranks. There are also certain others in the 1st and 2nd rank (and the female Principal rank) whose time has passed. Re the men, Sergeyev and Smelakov deserve promotion, and like Natalia mentioned, Volodya Shklyarov, Danny Korsuntsev and Yevchushenko cannot dance every night or "do" everything.

This is excellent news! Congratulations to Miss Kaptsova !

Hopefully, the lighing will be better. This production design is very, very lush and at the same time it's very busy. IMO the floor should be blank, so that the patterns and pointe work of the choreography can be clearly seen. This "floor plan" might be problematic for audience members who are seated in the tiers. Fortunately, it's something that can be corrected - if there's a demand for it.

The Bolshoi Ballet's Mr. Quotable Quotes.

"Now is the winter of our discontent . . ." It's Monday... This is huge. It looks to me like they're trying to negotiate for 1) more money and 2) more exposure and opportunities, (not necessarily in that order). Re point no. 1 Mr. Kehkman has billions, but he's wanting re point no. 2. Natalia is right in that Vasiliev would be in the same boat as Sarafanov at the Mik, and that Duato is not in the same galaxy as Petipa. Sarafanov hasn't advanced himself further since his move to the Mik from the Mariinsky, and has been relegated to comparatively inferior productions of the Petipa classics there. Mr. Duato hasn't used him in any significant way - yet. In contrast Vasiliev hasn't been given very many opportunities to be the Prince at the Bolshoi. Also, Osipova has been given her first opportunities as Juliet and Aurora with ABT, not the Bolshoi. For her, this is huge. She is a soubrette/virtuosa hybrid and she has proven herself in "Giselle," and "La Sylphide," and most notably "Don Q." She's also danced Nikiya and Gamzatti, but not O/O, Raymonda or Aurora at the Bolshoi and she's a Principal Dancer, (and he is too). In fact, she's making her debut as Masha in Grigorovich's "Nutcracker" and not Aurora in his "new with Paris Opera Ballet designs" edition of his 1973 production. If not now, then when? So, I get their motivation for shopping themselves around for a "package deal." But they may have bitten off more than they can chew and burned the Bolshoi bridge behind them ... Time will tell.

I'm ITA with you that the Dutoit is a very good version and that the music demands the tragic ending that the composer envisioned. The tragic ending is right there in the overture. There are other good recordings such as Andre Previn's London Symphony Orchestra recording from the early 1970s on EMI, and John Lanchbery's Philharmonia Orchestra recording from the early 1980s (1982 - ?), which were both very fine. Lanchbery's tempi was superior to Previn's as he conducted as if her were putting the music under the feet of dancers. I don't think these are available anymore. Ermler's treatment with the Royal Opera House Orchestra is also quite good but doesn't employ every last repeat (as Previn's did). I recall that Previn's Act 3 waltz for the six princesses ran close to 10 minutes, because there were six fanfares plus the main theme's repeats, not just the one in most productions and recordings. There were no cuts in Previn's early 70s recording. Nureyev's version for the Paris Opera Ballet uses most of the score, as does the Stanislavsky (Bourmeister), the Bolshoi, and the Mikhailovsky (Messerer). For example, at Le Garnier, the Act 1 waltz is totally complete as is the 4th act. They omit the Russian dance in Act 3 except for the Drigo scoring for the Odile pdd, and Odile's variation. The Bolshoi omits the bulk of the Act 3 Pas de Six, but uses the oboe solo for Odile's variation, and as a previous poster has noted the Stan uses it as well. The Stan uses the coda for the pas de six for the Odile pdd coda. At the Paris Opera Ballet and the Bolshoi the variation before that is used for Rothbart's dance at the ball. Tchaikovsky wrote so much music for his first ballet score, (without guidance from the original choreographer), it seems that he wrote it by the yard. As a result this masterpiece remains a treasure trove for Artistic Directors and choreographers to choose from, whether they opt for the traditional staging (Petipa/Ivanov), or non-traditional staging. The Russian State Symphony Orchestra, conducted by Dmitri Yablonsky on Naxos is a very good performance, but not as dramatic as Lanchbery's older treatment. Of these two, the Bolshoi's Svetlanov, also with the Russian State Symphony Orchestra IMO is the platinum standard recording if you want the entire score. The Drigo 1895 edition, or "the performance score" on cd has only two interpretations out there; Victor Fedotov and Valery Gergiev's both with the Mariinsky Orchestra. The latter was the soundtrack for the company's most recent "Swan Lake" dvd (2006) and is IMO, inferior to Fedotov's interpretation (on JVC), especially the final pdd ('Un poco di Chopin'). Fedotov's interpretation is the 5 star performance of the 1895 version. It also includes the Russian Dance from Act 3 and the original Dance of the Swans (as a supplement to the Valse Bluette). Unfortunately, Fedotov didn't insert the penultimate final bars from the 1877 score in the finale. Had he done so it would have been the master-stroke on an already superlative performance.

I'm ecstatic that Dasha Pavlenko is coming back to DC! Her return to our shores has been long overdue.

Natalie Portman should make sure she gets a bullet proof pre-nup; that is if they decide to make it official. And, even if they "don't" she still needs legal protection. C'est tout.

Thanks everyone for your reviews. I was considering buying this dvd; and still may - mainly because of the Kondaurova corps sighting, and Uliana's Diamond. But the roving camera, which was also employed in their most recent dvd of "Swan Lake," just doesn't cut it for me. It sounds like the POB dvd (which I have), is superior. It's ironic that the Mariinsky totally embraces Balanchine, but can't quite get it together in a consistent manner when it comes to casting his ballets. Those who "hit" are rarely cast; those who "miss" are frequently cast. Natalia wrote: I can imagine. Maestro Gergiev, bless him, appears because this is the first ballet that has been released through the "Mariinsky" label on the Theatre's site - along with the Orchestra's and Opera's recordings: --> http://www.mariinskylabel.com/page/2/Catalogue EricHG31 asked: He's never claimed to be an expert, and he's stated in interviews over the years that he knows about as much as the average Russian layperson and respects the artform. Does he "like" ballet as in "is he a balletomane," as much as he "likes" (or "loves") music and the opera? Based on what I've observed over the years, no he isn't. He pays more attention to the Mariinsky Orchestra and the Opera than the Ballet of the Theatre. In a perfect world, attention (should) be 100% for both enterprises. Even so, this is unrealistic for one person. IMO it's been 80% Opera/Orchestra 20% Ballet, and I'm being conservative. To be fair, the man also leads many other institutions: Music Director and Chief Conductor of the London Symphony Orchestra, the Vienna Philharmonic (favorite guest conductor) - I can't list them all here. Naturally, these responsibilities, in addition to the General Directorship of the Mariinsky Theatre would command the majority of his attention; and it leans heavily in the other direction. The world's major orchestras have all taken a number to be lead by him - even as guest conductor for one night. He also conducts many performances at the Met. I will say that the artistic direction of the ballet company has been on auto-pilot for quite a while now. The Mariinsky Ballet should try to get more cameras into the Theatre. POB, the Bolshoi, La Scala and the Royal (for example, last June's O2 Arena "Romeo & Juliet" run), have gotten proactive - reaching out to a global audience, collaborating with Ballet in Cinema, and airing live simulcasts. They've all outdistanced the Mariinsky here. I don't even want to get into the Bolshoi, La Scala, and even Tokyo's embracing of the Petipa reconstructions. Vikharev's Harvard notes have been welcomed everywhere except the Theatre where Petipa's ballets premiered. The Mariinsky Ballet is being left behind in this regard. It would be better for them to consider taking advantage of projects like this, rather than releasing dvds of mediocre performances from past seasons, or touring +90 days of two night - one week stands worldwide.

Kondaurova has won Ballet Magazine's 2011 Spirit of Dance "Star" award. Congratulations Katya! http://www.mariinsky.ru/en/news1/news2/12_229october/

Bianca wrote: Alexandra Somova wasn’t hired by the *Mariinsky, nor any of the following Petersburg companies: The Mikhailovsky, The Tkachine Ballet (St. Petersburg Ballet Theatre), Leonid Jacobson’s company, Boris Eifman, or the Hermitage. *(Mariinsky site was upgraded/reconfigured Tuesday). http://www.mariinsky.../ballet/mimans/ http://www.mariinsky...ballet/reserve/ http://www.mariinsky...let/kopsballet/ http://www.mikhailov...ballet-company/ http://www.spbt.ru/o...sts22/?lang=eng (Tkachine & Kolesnikova’s troupe) http://www.eifmanballet.ru/en/ensemble http://rus-ballet.co...tic-corps-1.htm (The Hermitage troupe). http://www.jacobsonballet.com/ Meanwhile in Moscow, Filin is beginning to push Olga Smirnova forward. Her debut performance with the company was in the pas de trois in “Swan Lake” on October 14: http://www.bolshoi.r...ynid26=2680#dyn She danced the second variation in the Grand Pas Espagnole to Obraztsova’s Bolshoi debut as Kitri in the “Don Q” reconstruction last Sunday, October 16: http://www.bolshoi.r...ynid26=2682#dyn Smirnova makes her debut as Myrtha in “Giselle” on Nov. 6. This will be her first major assignment: http://www.bolshoi.r...ynid26=2716#dyn After this, she’s cast as a maid of honor in the premiere of the new production of “Sleeping Beauty,” (Grigorovich’s version, with new scenery and costumes) on November 18. This will be Zakharova and David Hallberg's performance: http://www.bolshoi.r...ynid26=2704#dyn Then Smirnova will upgrade to her debut as Lilac Fairy for Ekaterina Krysanova & Semyon Chudin's performance, November 24: http://www.bolshoi.r...ynid26=2708#dyn

Thanks Lidewij! I searched for something last night and I gave up about an hour too soon !