Cygnet

Abbatt wrote, Kehkman is a billionaire. He made his fortune by importing bananas to Russia.

This is huge. Something happened to prompt him to bail. He's enjoyed preferred casting for the past several years. My guess is that Mikhailovsky Theatre General Director, Vladimir "Banana King" Kehkman offered him far more money than he's being paid at the Mariinsky Theatre. Another factor may be that he's been assigned to Somova as her most frequent partner at home and abroad. Someone asked whether this will effect Olesya Novikova. There's no telling how it will effect her career. It probably won't change her current situation. She's a 1st Soloist and pretty much a "house" 1st soloist. She's infrequently cast compared to others. I think that in two or more seasons Novikova may be consigned to "Dumchenko Land." If there are any promotions this season, I expect that Vladimir Shyklarov will be the strongest contender to take Sarafanov's place. MO. Mashinka wrote, Exactly. His classical repertory will be curtailed if Duato decides to mount and push his own works and sideline the classics. It would be an excellent move for him if Misha Messerer was still the ballet director. How will Maestro Gergiev deal with Yuri Fateev regarding this high profile departure? That's the $1 Trillion question. Sarafanov's departure is to Fateev what Zakharova's departure was to Vaziev. It's going to be interesting to see how this plays out.*(Edited: Kehkman is the General Director not the AD).

Mashinka wrote: Yes; he's that too . & It's either indifference or laziness. This is my own opinion, but I don't think Gergiev even wants to make an announcement for a search. Either he's paying attention, and doesn't mind the mediocrity, or he's not paying attention, and turning a blind eye to the situation. He has a full plate, and he doesn't have the time or seem to have the inclination to do anything about it. If it's the latter, he's the amateur, inexpert layperson that he says he is, and therefore doesn't want to make a direct decision on something of which he's stated he's "no expert." I mentioned before that Gergiev is an autocrat and likes 'yes' men. Fateev is his 'yes' man. Vaziev argued, allowed millions to be spent on Vikharev's reconstructions that he was going to shelve anyway, lost dancers such as Merkuriev, Dmitri Semionov (Polina's brother), Zakharova and Natalia Sologub, (to name a few), and Vaziev didn't produce results when it mattered to Gergiev. Gergiev went head to head with the Bolshoi in London a few summers ago when he pushed his Shostakovich program. The disaster of Noah Gelber's version of "Golden Age," (after the Bolshoi's successful showing of Grigorovich's production a few years earlier), and the infamous "Swan Lake" marathon during the Ballet Festival a few years ago - with no premieres - finally did Vaziev in. For these and many other reasons, Vaziev is AD at La Scala right now. Why should Gergiev change Fateev for a question mark who isn't a programmed droid? He won't do it. Furthermore, since Gergiev is so ubiquitous, and jet sets all over the world during the year, he won't leave the ballet of his theatre in the hands of anyone who thinks for himself, takes initiative, or questions his authority. & Richard53dog wrote: As long as Maestro Inc. is in charge, it's status quo until further notice. Gergiev delegates tasks. His main concern is the Mariinsky Opera and Orchestra, the Ballet has always been secondary to him. So, with the music and the singers, he's hands-on; with the ballet he's hands-off. Fateev has settled into being Deputy Director, and he's no longer acting. IMO there are too many cooks in the kitchen assisting him in keeping an eye on the dance and the dancers. For example, look at Fateev's supporting cast: http://www.mariinsky.ru/en/company/ballet/balmanage/. Will the real ballet director please stand up? Are these 'bodyguards' supposed to make him bullet proof? This long list speaks to his confusion and incompetence. How many assistant directors of the ballet does one company need? As a result you have a potpourri of factions and "visions," which makes for low morale and, depending on who is center stage, low quality product. If it weren't for the consistently high standards of the corps de ballet and the Vaganova Academy, well, you fill in the blank... If Fateev continues to cast certain dancers, and this includes the usual suspect, (), he should expect significant box office push-back, sooner rather than later. These, loss of demand and box office are probably the only things that Gergiev may notice and take action on. What kind of action he'll take is anyone's guess. Until then, it is what it is. At this point, one has to wonder, how bad does it have to get? I'd say "muzzled" is an understatement. Journalism has always been an unhealthy profession in Russia. Those who openly dissent or vigorously investigate have fatal "accidents" or are MIA. Dance criticism is slightly less jingoistic. It's very unfortunate, because few dance critics have the spine to speak truth to power ie. review exactly what they see onstage. The official site Mariinka.org illustrates the same tendancies among it's members. Those critics who butter up the Mariinsky press office, (and management's favorites) get press tickets, backstage access and are invited to the Ballet & White Night Festival receptions. Then there are the claques that some dancers pay to support and cheer them during performances. For entry applause and extended ovations, (whether warranted or not), I call that extortion. Befuddled Fateev is running this system. He's a ballet master who aims to please Gergiev, certain coaches and the factions. It's crazy. I totally agree. Gergiev is spread too thin, and Fateev is spread too thick.

This is sad news. Opera has lost a great diva. Rest in peace, Dame Joan.

As of this morning, Somova is online in 3D: http://www.alinasomova.ru/ I defer to the members for further comment.

Hi Bianca and welcome to BT! Yes it's a tragic situation. The company is in dire straights artistically. The traditionalists, of whom Ayupova and Makhalina represent, are being thrown away by Yuri Fateev. IMHO Fateev is as confused as he can be.

The Mariinsky & Bolshoi Ballet's stars will perform in "Gala 2010." This will be two gala programs at Tokyo's Bunkakaikan, October 23 - 27, 2010. Programs A & B and casts are listed, but both are "subject to change." Galina Stepanenko will replace Svetlana Zakharova for this engagement. http://www.japanarts.co.jp/html_e/2010_e/ballet_e/bolshoi_mariinsky/index.htm The Mariinsky will also dance at the Festspielhaus, Baden-Baden, December 21-27, 2010. They're bringing the Vainonen "Nutcracker," the '52 "Sleeping Beauty," (three performances for both), and one "Swan Lake" with a final gala program. Casts are TBD. http://www.festspielhaus.de/en/what-s-on/programme-tickets/?id=25&L=1&user_fsh_pi1%5Bfrom_month%5D=&user_fsh_pi1%5Bto_month%5D=&user_fsh_pi1%5Bgenre%5D=3&user_fsh_pi1%5Bcomposer%5D=&user_fsh_pi1%5Bartist%5D=

Here's my list: Balanchine - "Jewels," "Apollo," & "Mozartiana" Petipa - "Giselle," "La Bayadere," & "Swan Lake" Ashton - "A Month in the Country" & "The Dream" This may be cheating, but for "Romeo & Juliet" give me Cranko's Acts 1 & 2 for the ball, crowd and fight scenes, and MacMillan's for the balconey & Act 3. But, if I have to pick one "R & J", it would be Sir Kenneth's.

"Anna Karenina" will be awesome with Kondaurova. So far, there are only three Annas: Vishneva, Lopatkina and Kondaurova; and the debuts were in that order. During the White Nights Festival Katya was reportedly the best of the bunch & the dancers' favorite. The company will also add Balanchine's "Agon" and "A Midsummer Night's Dream" to the rep this season.

I'm in the middle of Daniel Silva's, "The Rembrandt Affair." It's summer 2010. Europe's major art museums, private collections and galleries are being plagued by a rash of thefts. The ring turns out to be a French team of serial art thieves. It concerns the theft of an unknown portrait of Rembrandt's mistress that has never been seen in public. A prominent art restorer has been murdered by one of the theives in the ring while working on this portrait, who takes the portrait back to the ring leader in Marseilles. Now the painting now has a bullet hole and the restorer's blood on it. But, it's what's in the painting that's the key to this story. The dead restorer was a good friend of Gabriel Allon another art restorer and one of the Mossad's top assassins. Allon comes out of semi-retirement to find the painting for his friend, London art dealer Julian Isherwood. In the process, his quest leads him to Amsterdam and then Buenes Aires. In Amsterdam, he interviews an old woman who is the sole survivor of the Jewish family that originally owned the painting. With the help of the Mossad, Allon sets out to return the painting and the assets of it's contents to her, the rightful owner. In the beginning, the portrait is stolen from a prominent Jewish banker's family in Amsterdam during WW2. They were forced into hiding, but after a year they were discovered and sent to the deportation center. Before the family is separated, the SS officer in charge of the deportations bargains with the banker for the painting. The banker also has a small sack of diamonds, which the SS officer immediately confiscates. The SS officer then bargains for the painting in exchange for the life of one of the banker's two daughters. The father is forced to sell the painting in exchange for his youngest girl, a 5 year old, who is the only one in the family who is blonde and blue eyed. The SS officer gives the banker a receipt. Her father slips the child that receipt as proof of the SS officer's theft. That's the last the little girl sees of her family. She keeps the receipt over the years to remind her of her family, and as the proof of the officer's crimes. After the war, the SS officer escapes prosecution, moves to Italy, and smuggles all of the Holocaust assets he has stolen to Switzerland in several numbered accounts in one bank. He put the itemized list of all his stolen assets and account numbers, each corresponding to all the names of his victims on a sheet of onion-skin paper. He concealed this paper in an air tight sack hidden behind the shoulder of Rembrandt's mistress. He sends his wife and son to Buenos Aires. Years go by. Then in 1964, he sends his wife to Zurich to make the withdrawal. The banker, knowing the contents of the painting, turns her away, saying that she has "the wrong bank and there are no such accounts." In 1967 the officer tries again by sending an Argentinian diplomat on his behalf to request the painting. The diplomat ends up dead the day before he is to leave for Zurich. In time, the Zurich banker dies and leaves the establishment to his son. The son soon becomes a ruthless billionaire. His father told him about the contents of the painting, and the billionaire will do anything including murder to protect his family's "good" name, his fortune, and his philanthophic reputation. To that end, the billionaire has built his own private intelligence network and army, equipped with hit teams and operatives to protect his interests.

Like Canbelto and others, I'm over Alina's 180s. They are the main ingredient in her stage persona recipe. Many ballerinas have Alina's flexibility. However, not all of them choose to display it, or (when in doubt) fall back on it in performance like she does. It's each dancer's artistic choice and judgement call. Flexibility can assist one's technique but it's no substitute for it; nor innate talent, musicality, ability or artistry. I've just finished viewing the "Lessons" dvds on mariinsky-livejournal. Alina made her debut as Aurora in October 2005 in Los Angeles. Here's the thing: When this dvd was filmed Somova was a 1st Soloist and had been given Aurora and O/O many times during 2005 - 2008, at home and abroad. What's revealing about the "Lessons" dvd set isn't only how Madames Moiseyeva, Tchyentchikova (Vazieva), Kunakova and Tarasova coach, but how their pupils respond to their instructions. Here's where you can really see the difference. If you have the dvd set or get a chance to view them online, notice the facility and technical ease by which Tereshkina, Novikova and Obrastzova work with their respective coaches Kunakova, Moiseyeva and Tarasova. Their's is a collaboration; Madame Vazieva's and Alina's is a private lesson. Lubov, Olga M. and Elvira guide and polish Vicky, Olesya and Yevgenia. The ballerinas polish their dances, and develop their interpretations. They're not taking class again, and they're not learning the roles/solos from scratch. Alina can't get to the solo or interpretation because there's a major lack of technique in her way. Olga T.-V. repeatedly corrects Alina's technical mistakes. This was also the case in the "Ballerina" dvd. Makhar Vaziev, Gennady Selyutsky, and wife Olga were three on one, repeatedly trying in vain to get Alina to properly execute Odette's first entrance for her debut in "Lake." It was a stage rehearsal. It was impossible not to notice that there was a problem. That was the sign. The operatic equivalent of this would be a singer at her first rehearsal for a debut in a major role. The maestro gives the downbeat. The pianist plays the opening bars for her first scene and aria. She doesn't know the lyrics or the notes. She's flat with each attempt, but everyone carries on as if that's normal. Now fast-forward 4 years later to "Lessons." Again, from 2004 - 2008, she was given many performances as O/O and Aurora. Alina's Odette and the Act 3 Aurora sessions were simply impossible. She doesn't reach the end of either variation. In stark contrast, Novikova, Tereshkina and Obrastzova complete their diagonals and the rest of their solos several times in their segments. Their legs and feet (alone), are stronger than Somova's. Madame Vazieva shouldn't have had to demonstrate (practically), the entire variation for her. Alina sees what to do and how to do it, yes - but she can't even imitate Olga T.-V.'s movements or assimilate her instructions. Besides Tsar Maiden in "Little Humpbacked Horse," Aurora and O/O are her calling cards. As a Mariinsky Principal with +6 years of study, tours, rehearsals and performances, she should be able to execute (in this case) Odette's and Aurora's 3rd Act variations without having to reinvent the wheel. I'm giving my East Coast friends fair warning: She will (most likely) be featured as "Giselle" at Kennedy in February, and may even get opening night. http://kennedy-center.org/calendar/index.cfm?fuseaction=showEvent&event=BLBSF.

Natalia wrote, . That's what makes Somova's case so bizarre. I totally agree Canary and richard53dog. I never understood Galina either. However, in her heyday Mezentseva was considered the book to be studied by V. Academy students. To this day Lopatkina worships her as a unique artist. Unlike Alina, Galina's technique was solid and reliable. Mezentseva wasn't an aerial ballerina, and she had moderate dramatic ability, but her port de bras, epaulement, turnout, pointe and terre a terre work was "there." Her 2nd Act in Giselle had a brittleness that just didn't work for me. I state the same about her "Swan Lake." I think her technique was solid because she studied in the Academy's 'Perfection Class' prior to graduation, and then she was assigned to coach Olga Moiseyeva as one of her first pupils. Galina saturated her Odette with mannerisms, and her Odile was dry with little characterization. Sometimes her fouttes, took a chef's tour of the kitchen,but the bottom line is that she was technically consistent throughout her performances. For me, the summation of Galina's artistry and her personal best role was the Lilac Fairy.

Yes. Her distortions, incidents of technical seppuku, bent wrists, petrified fingers, failure to point toes, sickled feet, fudged steps, flexnastics, improvisation, footlight flirting, are acceptable in the ballets they've given to her. At the moment, Lopatkina is the best and most active Diamond in the company (after Dasha Pavlenko IMO), who unfortunately is injured. Uliana would be the Diamond to send to Milan but she doesn't guest. Uliana stands at 5"9, so it would be impossible for her to find partners unless Danila Korsuntsev came with her. So, Vaziev requests and gets his protégée and Sarafanov. The mentality is "no one else can do it but her." Fateev has one injured Principal, who when she's healthy is totally ignored and rarely cast (Pavlenko), two who are chronically inactive (Makhalina and Nioradze), one who makes infrequent appearances at home and is guest to the world (Vishneva), and one who averages 1-2 performances a month (Lopatkina). Besides 1st Soloists Kolegova and Matvienko, the classical rep is divided between Somova, Lopatkina, and Tereshkina, with other 1st and 2nd Soloists making occaisional appearances in roles, in many cases seasons apart. Tereshkina isn't considered a "major player" (yet), so Alina gets the nod. Lidewij wrote: Probably. I think that was the rationale for casting her: More exposure. But "Paquita" is a showpiece divertissement, not a full-length. Personally, I still think it's a miracle that she wasn't O/O in their most recent "Lake" dvd. That dvd was Maestro Gergiev's project; he conducted that live performance and his name is on the box along with Uliana's and Danila's. To this day, I believe if it wasn't his project and he wasn't conducting, it could've been Alina as the Swan Queen instead of a Big Swan. Vaziev was still the ballet director, and she was in heavy rotation at that time. Helene wrote: I agree Helene. Vika was sublime, and Katya Kondaurova delivered the Petersburg platinum standard/5 star performance in "Paquita."

The Mariinsky 1st Soloist has unveiled her new website: http://www.evgeniaobraztsova.com/.

Cubanmiamiboy wrote, Chalk it up to the identical personal preference of Vaziev's successor Yuri Fateev plus connections. Gergiev chose Fateev because he's a yes man, doesn't question and doesn't rock the boat. When Vaziev went to La Scala, Fateev represented continuity. Fateev was subordinate to Vaziev as a leading ballet master; ergo, her promotion,(though ill-advised), was almost bound to happen. Her coach was Vaziev's wife. Re bookings and invitations, mainly she's been sent to provincial companies in the Federation, such as the Paliashvili Theatre of Opera and Ballet, Georgia, and the like - but only as Odette/Odile. This role is her main claim to fame, her first major role, and the centerpiece of her short-list of roles. When Vaziev gave her that assignment, she was hyped at the time to be the youngest, if not, one of the youngest in the Mariinsky's history to do it. She has done one night stands with the Warsaw company in "Bayadere." She hasn't been requested by Zelensky for his company in Novosibirsk, nor Perm, nor Kiev or any Moscow, or other Petersburg company. That fact is significant. She appeared a few years ago in Canada in the Etoiles Gala, and with Canadian Ballet Theatre in the Vainonen "Nutcracker." But the following Christmas of that year (which was recent but escapes me at the moment), CBT requested 1st Soloist Maya Dumchenko. That fact is also significant. Basically, she participates in company and joint gala tours with Bolshoi stars in Japan, leads the company on Western tours, and is featured during tourist season at the Mariinsky International Ballet and White Nights Festivals. Here's another factor that's in play. Fateev is considered by the Theatre, or rather considers himself to be a "Balanchine expert." So, his vision of the company's repertory has been expanded with an eye to give her a place in that repertory. To that end, she's been given those Balanchine roles that she could try to master in conjunction with her OJT performances in the standard Petipa rep. Therefore, that's why she's Fateev's first choice to deploy to Milan for "Diamonds." Tereshkina and Novikova also dance "Diamonds," but they aren't considered "bank," and they don't have the name recognition that Somova has, and Lopatkina doesn't guest. Recordings? Well we all know she has been recorded most frequently on Youtube. That's unofficial. She's been recorded in the Lessons dvd set with Novikova, Tereshkina and Obrastzova, (Japanese production), as a big swan in Lopatkina & Korsuntsev's "Lake" dvd, and as Dryad in the Novikova/Sarafanov "Don Q" dvd. Unfortunately, these are official. She hasn't been showcased in a major full-length role on dvd...yet. By the Mariinsky's standards, (and their indulgence of her's), her rise is unprecedented. My conclusion? Two words: Manufactured career. Mashinka wrote, I agree. I recall that Porter was also burdened with the media hype that she resembled the young Fonteyn, and so it went on from there.

It was inevitable that Vaziev would summon her to Milan; I wonder what took him so long. In his eyes, Alina follows in Zakharova's footsteps. This was the master plan. After Sveta's departure for the Bolshoi, a void needed to be filled. First the Mariinsky,(and now) La Scala. Vaziev remains a true believer in Alina, so he's doing all that he can for her career because she's his creature. If Somova were a singer, it would be like hearing Lady Ga Ga as Lucia di Lammermoor on helium. Opera audiences wouldn't indulge an artist that's on 45% of the time, and off the other 55% in the majority of her performances. If a soprano is off because of a cold that's one thing; if she's flat or bungles phrases, hit and miss, that's quite another. Persistant inconsistency isn't a characteristic of the world's top divas, or prima ballerinas. Theoretically, that's not how they get to the top, or how they build an audience, let alone maintain career longevity. In this regard, Alina is a special case study as to what can happen, when expectations are unrealistic at best, and when things get out of hand at worst. At this stage there's no way they would or could rescind her appointment without looking foolish. Meanwhile, someone at the Mariinsky seems to have stopped drinking the kool-aid. Alina was slated to open the season's first evening "Swan Lake," September 18, with a performance the following night as the Tsar Maiden in "Little Humpbacked Horse." The honor will now go to Katya Kondaurova, with Sofia Gumerova (another deserving but rarely seen 1st Soloist), who will dance the matinee. Kondaurova will follow up with another performance on October 3. This is the first time in a number of years that a soloist opens the new season's "Lake" over a principal.

Mariinsky 1st soloist Maya Dumchenko was awarded the title Honored Artist of the Russian Federation. Congratulations to you Maya ! http://www.mariinsky.ru/en/news1/news1/3_september/

I totally agree with you. The music soars, the choreography doesn't, and the props are a distraction. In his version, Masha and the Prince get married - during the performance, so that may be why they're kneeling in prayer. During the final Waltz, the corps puts a veil with train on Masha's head, and a bouquet in her hand. She and the Prince stand under the Christmas tree until the waltz comes to a climax. The bride is a double: The prima ballerina exits early to change back into her nightgown before the last scene. All of this stage traffic is too busy. Grigorovich was extremely fortunate to have Maximova and Vasiliev as his original Masha and Prince. IMO their artistry saved this version and made it a hit at the Bolshoi. Now, his version is as sacred there as his "Spartacus." In his "Nutcracker," Maximova and Vasiliev did alot with very little. The highlight of this "pas de deux" is the supported piourettes at the end. Maximova had such kinetic energy and strength in her back and feet: She spun like a top - she had superlative technique! The Kultur tape from 1987 is amazing - not just because of her age at the time, but the fact that she had seriously injured her back in the 70s and was out for two years. The Bolshoi danced the Vainonen production until Grigorovich instituted this version which premiered on March 20, 1966. When the Mariinsky tours "Nutcracker," they take the Vainonen; they only toured the Chemiakin twice when it was new. The Vaganova students perform the Vainonen in Petersburg, and the company performs the recent Chemiakin production at home. If I had to choose between the Grigorovich, Vainonen and Chemiakin productions, I'd take the Vainonen. I wish it had the Ivanov pas de deux. That said, I believe that Balanchine's production is the splinter in the cross. I suspect that Ratmansky will do something totally new and modern with "Nutcracker," like he did with the Mariinsky's "Cinderella."

If that ever happens that would be something! Somehow, I don't think the authorities would allow it. Even with a trainer, elephants are too unpredictable and cost in-effective. Is there any company that would dare take a chance on the liabilites, let alone be able to afford the insurances and care of a live bengal tiger or elephant? Have live swans ever been used in "Lake?" In "Giselle" I've always thought that a small corps of trained (and leashed) pure bred bassett hounds would be perfect. Even so, that would be too distracting to the dancers, musicians and audience. They'd never stop barking, they'd get nervous and "polish" the stage, and they're too expensive.

You're welcome GNicholls . There are a bunch of other threads on this site that discuss the reletntless quest for the +180 extension. Guillem transitioned smoothly into modern dance. As a prima she was blessed to have a relatively long career (by today's standards), with few major injuries. Here's a rare Guillem interview: http://www.guardian.co.uk/stage/2006/sep/14/dance This isn't a cautionary tale, but artists inevitably deal with the artistic/technical choices they make. The physical and career consequences vary. For example, Zakharova sustained two hip injuries in the course of 6 months this year. The first caused her to miss the Bolshoi's February enagement at the Orange County of the Performing Arts; and the second was the recent Covent Garden tour. So, this issue is something to seriously think about.

Guillem has always been an exceptional ballerina for me because whenever I saw her, she always combined her natural gifts with artistry and adherence to the academic laws. Guillem knew how and when to employ her unique feature. Natural giftedness is the foundation, but technical and artistic development are key. Looking back, I have to say that from the beginning, I felt that Moiseyeva (Zakharova’s first coach), didn’t temper Zakharova’s extreme approach while she remained in St. Petersburg. At the Bolshoi, Zakharova is Semenyaka’s pupil; and reportedly she has gotten her to dial it down somewhat. Zakharova has always had discernable port de bras, turn-out, epaulement, and professional presentation. She’s consistent in the basics as a terre a terre dancer, yet she isn't an aerial/Romantic ballerina or a dance actress. Unlike Zakharova, Somova has none of these attributes. Zakharova started at the Kiev School. Two years out from graduation she entered the Vaganova Prix competition, and her appearance there led to the invitation to join the advanced class at V. Academy to complete her studies. She graduated V.A. from Professor Elena Yevteyeva’s class, was hired by the Mariinsky Theatre, then she was handed over to Olga Moiseyeva. I recall that she was immediately fast tracked and was appointed a principal in 1.5 years. At the beginning of her career, Zakharova was considered the culmination of her “predecessors” in the Mariinsky Theatre at that time (namely Makhalina and Mezentseva). These two primas were thought to be “extreme” for their respective generations – but their salad days were under the Soviet system. Zakharova was regularly 1st cast, given the central assignment both at home and abroad. In the new Russia of the mid 1990s, for Russian balletomanes, Zakharova was novelty - and bank for the Mariinsky management. On the other hand, for the connoisseurs and Petersburg pedagogical community she wasn’t “novelty” but a question mark at best. Then as now, they revere Lopatkina as the supreme Vaganova exponent of this generation. The rise of Somova began in October of the 2003-2004 season when Zakharova left for the Bolshoi. This was when former ballet director, Makhar Vaziev began to push Somova to the forefront as her replacement.

Welcome Bonnette to Ballet Talk! Enjoy !

Trailer = . Quentin Tarentino . . . he would've done a better job.

I've always thought that Hilarion was a stalker like Albrecht; the difference being that Albrecht is a royal.

Mashinka, Leonid, I totally concur with your posts. I have my own thoughts to add to your comments. The Bolshoi's and the Mikhailovsky's imaginative programming was that 'something extra' that contributed to their successful summer seasons. Both ensembles brought works that were novel: Ballets that hadn't been seen in London for a number of years, or not at all. For example, the reconstructed "Coppelia," the mixed-bill "Serenade"/"Giselle" combo, and the Mikhailovsky's "Laurencia" and "Cippolino." The producers and the Mariinsky management failed to do that last year. Also, unlike the Mariinsky, neither the Bolshoi nor the Mikhailovsky gave any incapable debutantes the opening and closing nights of their engagements. There was no salvage operation that had to be mounted by the other ballerinas after opening night. From curtain up to curtain down, matinee to evening, both companies strove to put their best feet forward. Moreover, the stars were real stars and needed no chatting up by their Director, nor manufactured media hype. I don't think that it would be prudent for the Hochhausers to engage the Mariinsky Ballet in the UK again until at least two (sic)". . . more Summers have withered in their pride." Why? For a number of reasons. Just before they closed their season, the Mariinsky revived Leonid Jakobsen's "Spartacus." Assuming the producers have this on their tentative short list of ballets, after the tremendous Bolshoi reception, (and the Mikhailovsky's production from a recent visit), there's no way that London would tolerate it. Secondly, Messerer's revival of the historic pre-Grigorovich Bolshoi "Swan Lake" went over extremely well. This happened thanks to his superlative training of the Mikhailovsky’s corps de ballet. This prompted one of my friends to PM me and declare that, ". . . the Mikhailovsky can dance the Mariinsky into the ground now." What? St. Pete's "#2" out swanning The Swans? In my friend's opinion, apparently so. Third, re the Jakobsen "Spartacus," it's a relic of it's time as a 1950s Soviet dram-ballet/experiment. It's historical value is that it’s the first production on the subject and it's danced turned-in, with sandals. Imagine a mute stage performance of Kirk Douglas' movie, with Aram's score blaring in the pit. That's the Jakobsen "Spartacus." Compared to the Bolshoi's production and Ivan Vasiliev's reportedly devastating interpretation, it wouldn't be wise for the Mariinsky to follow up with this version. This was the major revival at the Mariinsky this year - besides, the acquisition of Ratmansky's "Anna Karenina." "Shuraleh" is another old Jakobsen revival from June 2009 that hasn't been toured. It's based on a Georgian fairy tale and is the domain of Obrastzova who danced the premiere revival performance as Syuimbike. Maya Dumchenko and Irina Golub have also danced this role in subsequent casts; which means it won't be toured. On the other hand, Ratmansky's latest new creation for the company is "The Little Humpbacked Horse" and that ballet is now exclusively Alina Somova's ballet at home and when it tours. They've only taken it to Japan and Scandinavia. Next, it will be Paris' turn to share the joy this November for a one night stand at the Theatre du Chatelet. I wouldn't dare wager who Fateev will choose to showcase in Paris, but I don't need to guess. Fourth, 1st and 2nd soloist females are freelancing. Talented but neglected men like Mekuriev and Lobukhin have left and become Principals at the Bolshoi. Osmolkina was injured last summer, but after her two successful Odette/Odiles at Covent Garden in Winter 2009, she's been absent. These two performances were her second and third performances after her debut at home in January 2009 - after serving a decade in the company. Osmolkina hasn't returned to O/O since then. Obrastzova began guesting as a Principal with Moscow's Stanislavsky Nemironovich-Danchenko Ballet last season and will do so again this season. Tatiana Tkachenko now divides her time between the Hermitage Ballet as a Principal, and the Mariinsky as a 2nd soloist (still a 2nd soloist). Even Katya Kondaurova is not immune to the Alina glass ceiling. Katya will dance what is technically the first O/O of the new season in September - but it's the matinee. The honor of the season's first evening performance of "Swan Lake" on the same date goes to you know who. Fateev is making a statement. In his glass booth with his remote control in hand, Fateev in lab coat, is driving the ballet audience like test drive automatons. He's ramming his point repeatedly into the crash wall; and we are without the benefit of seat belts or airbags. What the management is "saying" is that they believe to the end of the age that Alina Somova is "superior" to Kondaurova, Obrastzova, Tereshkina -and anyone else you can name on the roster. Unfortunately, there will be no new Artistic Director of the Ballet until and unless Maestro Gergiev appoints one, and if he does, there's no guarantee that person will be effective. Fateev's title is Deputy Director of the Ballet. With the recent appointment of Nacho Duato as AD of the Mikhailovsky, who knows what's next? Finally, the Maestro will not replace his "yes" man with someone who will be a question mark as far as submission to his absolute authority is concerned. So, unfortunately we can expect more of the same. For myself, I'll be looking at the Bolshoi for the forseeable future.