Cygnet

Hans wrote: She's been Terekhova's pupil since 2008. It's not Terekhova's fault. I'm sure (trust) that Terekhova's doing the best she can, but it seems that it's hit and miss with Somova - mainly miss. At this point her tech. issues may be etched in stone. I just looked at the clip. Her developpés and her arabesques are turned in. She's never really had a sustained turnout. This is why Aurora, the most academic of roles doesn't work for her. It, like O/O, Nikiya etc. exposes all of the problems that she has. For example, her extreme ecarté freeze frames and developpés in the Rose Adage, as Dryad, Kitri, Nikiya, Odile - all are turned in. Her arabesque penchees are turned in; there's no term for it, so I made up one. I call it the "secabesque," *(an arabesque - à la seconde) hybrid. Of course, there's no such animal. She's a turned in dancer. Since she's been a pro, (7 years this June), for whatever reason, these idiosyncracies, haven't been corrected. Her feet have never been strong enough for the Petipa heroines. She isn't able to sustain proper placement in her center-work. Therefore, balances are an issue for her. Proper placement, a centered torso and strong pointes are the foundation for sustained balances. Her over-extended knees, and over long limbs don't help either. Her fouttes remain problematic. Her prep for unsupported piourettes is labored. They're strong only if she's partnered by one of the experienced stars like Kolb, Korsuntsev, Shklyarov, or Sarafanov. IMO there's a ballet in the rep that suits her: "Etudes;" it isn't long, and it's not full-length. She would do well in the Forsythe rep, for the obvious reason. However, since she graduated, the former ballet director believed, (and the current B.D. who is continuing his predecessor's policies), believes that she's an academic diamond in the rough. Therefore, the only modern works that she's been given are "Diamonds," "Scotch Symphony," "Rubies," "T & V," and "Symphony in C." These ballets are as modern as they'll let her get. I hate to belabor the point, but she hasn't succeeded in these either, these works are also inherently academic. "S S" is more lyrical and romantic in style, and "Rubies" is more jazzy than the others. But "Diamonds," "T & V," and "C" demand technique with presence and nuance. In summary, her career to date "sits" on three pillars: 1) They've tried to shoehorn her into emploi that she's unable to master; 2) They've tried to justify their beliefs by "growing" her into the title of Principal Dancer; and 3) They've done 1 & 2 while over-zealously promoting her. The Somova Project may have looked good in theory and on paper, but reality intervened. It hasn't worked out the way they expected. Ballerinas are born. No, it's not the clip, and in her case its never been the music. Somova "does" steps, she doesn't "dance" steps, nor are they seamlessly phrased with thought or focus. For example, when you get a chance go back and view the recent "Paquita" clip (from New Year's Eve). "Paquita" is a virutosa, showcase piece. As the leading ballerina, she doesn't take the stage, nor hold it with the authority that this ballet requires. What's most telling is that she doesn't do any of the above as one would expect of a Maryinsky Principal. I can say for myself, when you see her live, you don't know what to expect. You hope for the best but she's unpredictable, and not necessarily in a good way. That's the most diplomatic way I can put it. She's dealing with technical survival, that at this stage, and as a Maryinsky Principal shouldn't be an issue for her given her short list of roles. It's this level of performance that gets priority casting and carte blanche favor from the management .

Re mariinka.org, Mashinka wrote: Unfortunately the shutdown was temporary. The link is back online. "Maryinsky Above The World" isn't a forum, but a solo, one subject (Somova), fan-site blog.

This will be Dasha Pavlenko's first appearance as Lilac in either production (1890, or '52) in five years ! It's wonderful that the 1890 is coming back. But, last year this time they announced the 1890, and pulled the 1952 switch at the last minute. Golub danced one performance as Aurora, and then of course, Alina Somova. They may do the same thing again this time, because they will have come home from a series of '52 "Beautys" at Kennedy. I hope they keep the announced production. Oh, how I wish I could be in Peter for this! This is a good example of the Maryinsky's '"TBA" casting policy. They announce the opera and ballet performance schedule at the beginning of the month, sans the leads. One doesn't know who is on until a few days before - and even then they'll switch at the 11th hour before curtain. Chiapuris wrote: Yes, this was deliberate. It's a subscription performance. It was announced at the start of the season last Fall. I don't understand why Shklyarov is chained to her again; and in this (or anything else for that matter). After the "R & J" opening night disaster in London last summer this is inexplicable. Mashinka wrote: That's the absolute truth. However, the majority of Petersburg's audience doesn't appreciate Somova's manufactured "prominence" on their stage. The leading lights are Lopatkina, Kondaurova, Obratzova, Vishneva and Tereshkina. Whenever any of these ladies dance it's an event in the artistic life of the city. Increasingly, 1st Soloists Obratzova and Kondaurova are taking their place in this exclusive club. And thankfully, Dasha Pavlenko is slowly but surely making a comeback. Somova, however, remains on the outside looking in. She has her faction, yes, but it isn't large. The coaches may pronounce their displeasure but it doesn't matter. The culprits who determine Somova's schedule are the chief stage manager who is in charge of casting, and the ballet director who rubber stamps his approval - in that order. It's not because Petersburgers are clamoring to see her. Moreover, she is also prominently cast during the Festival season when tourists frequent the Maryinsky Theatre. No doubt, the tourists' response, and box office receipts at home and abroad, have a huge influence on the decisions of the ballet director and the stage manager. This time it looks like Kennedy's box office and her reputation may have impacted the recent decision to subtract one Aurora from her original two in next week's engagement. This is true. Mariinka.org's forum, the online HQ for Team Somova has been shut down: http://www.mariinka.org/forum/. That sounds like a "farewell" to me. Here are some other examples that may give evidence that a threshold has been reached. I was informed that on Jan 8, Somova appeared with Anastasia Matvienko and Obratzova in the 100th Birthday tribute to Ulanova. That's a travesty full stop. When I first learned this I think I lost two pints of blood. Matvienko was assigned Maria in an excerpt from "Fountain of Bahkshiserai," Somova was given the mad scene out of context from Giselle (good gravy Marie ), and the Ballroom segment from "R&J" Act 1 and balcony pdd were given to Obratzova. Reportedly, Obratzova received the highest praise and the greatest floral tribute that night. There's also the consternation that Somova received a Golden Mask nomination for "Little Humpbacked Horse" over Tereshkina. Another example: This past weekend (Jan 29 & 30), a small group of Maryinsky stars appeared at the Northern Lights Festival in Tromso, Norway. The indefatigable Somova didn't go - which is highly unusual because she hardly ever injures herself because of her flex-abilities and she's reportedly rarely ill. Even so, they took the rest of the 'A' Team - along with Obratzova and Kondaurova. Obratzova, Kondaurova and Matvienko each figured prominently during the Baden-Baden Christmas engagement. And now Somova is reduced to one Aurora for Kennedy and Tereshkina, Kolegova and Matvienko will be showcased. Perhaps the numerous embarassments of the past and present have caused some in the management to re-think their position.

Last night the Joffrey Ballet opened at the Los Angeles Music Center's Dorothy Chandler Pavillion with a sumptuous production of Sir Frederick Ashton's "Cinderella." This production was designed by David Walker and will be given five performances (Jan 28 - 31) . The Joffrey has a significant history with Los Angeles. During the 1980s, the company maintained a bi-coastal residency between New York and L.A. During that decade, a former Royal Ballet dancer named Ashley C. Wheater was on the Joffrey's roster. Yesterday evening, Mr. Wheater stated with great emotion that, " . . . it was Gerald's (Arpino's) dream that the Joffrey would dance Ashton's "Cinderella." Wheater trained at the Royal Ballet School, was accepted into the Royal and worked directly with Ashton in several productions at Covent Garden. From there, he joined the London Festival Ballet and worked with Nureyev and Glen Tetley and became a Principal under Artistic Director John Field. In 1982, he left the UK for the Australian Ballet and three years later, Gerald Arpino invited him to join the Joffrey. In 1989, he went to the San Francisco Ballet, and was appointed Ballet Master, then made assistant to the AD, Helgi Tomasson. In 2007 Mr. Wheater was appointed Artistic Director of the Joffrey Ballet. Having studied and rehearsed this ballet under the Founding Choreographer of the Royal Ballet, Wheater brings authoritative knowledge to the table regarding the intricacy, grace, and subtle irony which is the essence of Ashton's style. This run of "Cinderella" is important for several reasons. First and foremost, Ashton is rarely performed today, and most certainly here in the U.S. Unfortunately, today his work is barely performed by the company he helped Dame Ninette de Valois found. Indeed, in other threads on this site there has been lengthy discussion about the neglect of homegrown British talent, and that the current management at Covent Garden has neglected scheduling Ashton's work on the playbills. Therefore, anytime and anywhere the first full-length British ballet is performed it's both historic and an event. Thus, Wheater and the Joffrey paid homage to this genius choreographer by delivering a stellar and witty performance. Wheater enlisted Michael Somes' widow Wendy Ellis Somes to help coach the ballerina Victoria Jaiani and the corps. So, this was a double dip of authoritative knowledge and instruction - from the source. Cinderella was danced by Victoria Jaiani from Tblisi, Georgia. Unfortunately, the program had no bios on the company members, only names and photos. Jaiani was technically secure, subdued in acting, but pleasing in the role. In Act 1 she offered a straight forward interpretation of the heroine, and telegraphed a happy-go-lucky, cheerful Cinderella, as if she were content with her downtrodden situation. In the comic sections she was technically sharp particularly in the broom variation, (the Gavotte, before her Fairy Godmother appeared). Throughout the evening, she was strongest in Ashton's delicate and detailed pointe work: Her piourettes and tours were all sure and well executed. That said, her complete Act 1 could have had more dramatic gravitas, meaning she could have tried to convey a little more emotion re her deceased mother, (sadness/grief rather than pleasant blank stares), and the distinction between her lowly place in the home (humility), vs. that of her ugly step-sisters (spoiled privilege & favor). In short, in Act 1 Scene 1 Jaiani was technically sound, well prepped, but dramatically bland. Cinderella's stepsisters were brilliantly and hilariously portrayed by David Gombert and Michael Smith! Gombert and Smith danced the Ashton and Helpmann ugly step-sisters with robust slapstick (ala Les Trocks), and very physical and intricate footwork. They provided comic relief, but they played against Jaiani, (see paragraph above). Therefore they almost outshone her in Act 1 Scene 1 in the "commitment" department. In Acts 1 -3 they maintained a high level of comic and kinesiological energy and were thoroughly entertaining. Cinderella's Father, Patrick Simoniello mimed in the same note as Jaiani. Notably, there's no wicked step-mother in Ashton's production. The glory of Ashton's choreography are the patterns he staged for the The Fairy Godmother, the Stars, the Seasons and the Courtiers. In Act 1 Scene 2, The Fairy Godmother was danced beautifully by April Daly. In her appearance and variations she dominated the corps with her powerful technique, balances, bourrees and engaging stage presence. Here at last we had total belief and commitment - the fairy tale began with her entrance. Likewise, in succession the Season Fairies went from strength to strength with each entrance and variation. Ashton's variations are both brilliant and fiendishly difficult to execute. The Joffrey fielded a well prepared corps of fairies and stars: The difficulties were concealed by excellent technique. I'm going to name each of the ladies that conquered Ashton's mine-field of steps in the dream sequence. Fairy Spring - Allison Walsh, Fairy Summer - Chirstine Rocas, Fairy Autumn - Yumelia Garcia, and Fairy Winter - Valerie Robin. Each fairy conveyed the very essence of the season that she portrayed. The 12 Stars: Elizabeth Hansen, Jaime Hicky, Anastacia Holden, Stacy Joy Keller, Erin McAfee, Caitlin Meighan, Amber Neumann, Alexis Polito, Abigail Simon, Jenny Winton, Joanna Wozniak and Kara Zimmerman. They danced with both precision, grace and thorough exactitude - very sharp! Ladies A+++ to you all! Act 2 - The Ball Prokofiev built the music in Act 2 layer upon layer, increasing it's intensity where it's "weighted" towards midnight. Likewise, Ashton did the same with his steps, beginning with a cleared stage and the Jester sitting still and alone at the top of the stairs. As time goes by, the choreography increases in difficulty and intensity - it's also "weighted" towards midnight. The Jester was brilliantly danced by Derrick Agnoletti. Agnoletti is a buoyant aerialist. His cabrioles, split & grande jetes, entrechats, precise beats - all were done as if they were child's play. He was absolutely wonderful! The only distraction was his scepter, a prop which had too many bells on it. The Prince's Friends, Jonathan Dummar, Dylan Guittierez, Temur Suluashvili and Mauro Villaneuva were well matched and mirrored one another - which is saying something nowadays. Who knew that the Joffrey had such deep pockets in male casting options? Anyone of them could have been the Prince. The Prince was wonderfully danced by Cuban trained Miguel Angel Blanco. In Blanco, the Joffrey has a strong and powerful danseur noble par excellence. He was every inch the regent at his soiree, dominating the stage. The two partners for the ugly step-sisters were "Napoleon" and "Wellington" Brian Gebhart and Fabrice Calmels. They were the perfect foils for Gombert and Smith. The courtiers danced as one throughout Act 2. They delineated the design of Ashton's choreography clearly, and this ballet is a very detailed choregraphic text. In Act 2 Jaiani came alive. Her entrance en pointe down the stairs was solemn and regal. Here at last was the mysterious Princess, fresh and immaculate in a white tutu and flowing cape. She and Blanco danced both the waltz and the pas de deux with the wonder of love at first sight and palpable romantic chemistry. The famous tours - especially the tour in clockwise and then counter-clockwise direction around the Prince, was spot on. Blanco however, proved slightly less secure in his variation; there was a sudden change of direction in the piourettes, but he finished cleanly. When midnight came, Jaiani telegraphed real panic. She couldn't get past the courtiers and kept running into the Prince. Finally she escaped, though the stage craft barely concealed her behind five courtiers, as she rushed off to the wings stage left. The Cinders double in rags, was the one who actually made it to the stairs and out of the ballroom. Act 3 continues with excerpts from the Prince's First Gallop - without a break as the Ball guests leave. Some of the courtiers cross the stage in front of the giant clock backdrop, along with the step-sisters. Incidentally, many audience members were roaming as well, unsure if there was a second intermission: *(One clue that it wasn't intermission is that the house lights were still off). The Prince also follows close behind with the glass slipper on a red eye mission to find his princess. The backdrop lifts and once again we're in the living room of Cinderella's house. Ashton's remembrance monologue is the culmination of her whole experience. Where Jaiani came alive in Act 2 just before, once again she reverted back to the bland/happy-go-lucky Cinderella of Scene 1. At the end of this variation, there should be a profound sense of regret and sad resignation, not only in the dramatics but the eloquence of the bourrees. It's also in the music. Jaiani's interpretation at the end of this solo conveyed the sense that she played a joke on her family and got away with it. Enter the Prince and his four friends. Quickly, Jaiani switches "on" again when she sees Blanco. The shoe fitting was touchingly played by Gombert and Smith. Blanco and Jaiani find one another again (well, a few hours later), when the mate slipper falls from her apron, and he recognizes her. The Fairy Godmother reappears and transports them back to the ballroom where the stars and the couple are crowned and married. The Prince and his Princess walk slowly up the stairs, arm in arm, showered with gold dust and sparkles. Beautifully done! In summary, this was a wonderful opening night performance. The cast is the same for the rest of the run. The Music Corner: The Joffrey was accompanied by the Los Angeles Opera Orchestra, conducted by (?). Neither the souvenir program, or the insert named the conductor; but the musicians' names were listed. Whoever the conductor was last night, _______ was in simpatico with the entire ensemble, especially the couple, the ugly sisters, the Fairy Godmother and the Seasons. The L.A.O.O. played the score with punch, speed, passion, and the comic irony that Prokofiev so skillfully created. Opening Night Trivia: The performance was supposed to begin at 7:30 p.m. (or as is usual a little after). When I arrived and was seated it was about 7:00 p.m. The pre-performance lecture was in progress onstage in front of the "CINDERELLA" curtain. It was lead by Mr. Wheater, Mrs. Ellis-Somes and an unidentified (for me) Music Center official. The lecture ended at 7:20 pm. The performance itself did not begin until 7:52 pm because Mr. Wheater and said unidentified Music Center official, read prepared statements and chatted about the history of the Joffrey Ballet and Ashtons ballet. Then they introduced the Director of Dance Presentations, Ranae Williams Niles in the audience. IMO all of this should have been done during the pre-performance lecture. More Opening Night Trivia: After curtain calls, the patrons had to be detoured out the side entrances of the theatre to exit, and those in the balconies had to troop down several stories of stairs, because the opening night party was already in full swing, jazz band and all, on the mezzanine and orchestra floors.

Mr. Parish's first Maryinsky assignment will be the Poet in "Chopiniana," (Les Sylphides), on Feb 11, with Daria Pavlenko, Daria Vazsnetsova and Elena Evseeva. This is what I call a real coup d'etat debut - and it's during the Maslenitsa Festival. Unprecedented. Best wishes to him! I'm also elated to see Dasha Pavlenko back in rotation ! http://www.mariinsky.ru/en/playbill/playbi...10/2/11/1_1900/

The Maryinsky Ballet has hired former Royal Ballet corps member Xander Parish as a new corps member. Source: http://www.facebook.com/pages/Xander-Parish-Fans/20591072899 Former First Soloist Mikhail Lobhukin has joined the Bolshoi Ballet as a Principal Dancer effective Jan 1, 2010. Congratulations to him! The Maryinsky and ROH sites haven't updated this information, but the Bolshoi site has done so. http://www.bolshoi.ru/en/theatre/ballet_troupe/soloists/

Suzanne Farrell Source: http://www.independent.com/news/2009/oct/1...-santa-barbara/

Sir Anthony Dowell expanded the role of Clara/Marie in Act 2 for Alina Cojocaru. This role was one of her first assignments as a new Royal Ballet member. He did the same for Drosselmeyer's nephew, Hans-Peter in Act 2. That's why they participate in each dance in the divertissement, except for the Grand pas de deux and the flower waltz. Before Cojocaru joined the company, it was a student's role. I haven't seen this production live since the mid-90s, so they may have reverted back to students for Clara/Marie. Could someone please confirm yes or no about that? During the first years of this production, and in the dvd featuring Dowell and Lesley Collier as the Prince and Sugar Plum, I remember that Clara/Marie and Hans-Peter didn't participate in the Act 2 dances. In the Cojocaru dvd, Yoshida and Cope are outstanding in the grande pdd, but IMO Dowell and Collier have the edge. The latter dvd is a collector's item because it documents one of Collier's final performances.

Hi nysusan . The first shade out is Anna Lavrinenko, the second behind her is Ksenia Ostreikovskaya. The first shade in the pdt (the blonde), is Elizaveta (Liz) Cheprasova. 2009 graduate, Margarita Frolova is also there but you can only see her during the bows. She's four rows from the left, the 3rd girl back. She made a big impression last June. Helene wrote: The ones who really shilled for Alinashka on that dvd were Vaziev and her coach (his wife), Olga Chenchikova. They spent more time promoting her in that film than the other four artists combined !

Happy 2010 to everyone ! Thanks so much NYSusan for the link! There's no need to 'dodge arrows' Giannina , I agree with you. I'm not one to make excuses, but if there are plausible "explanations" why they looked "ragged" here's some. This is the first time in almost a year (?) yes - a year, since the corps has come back to Bayadere Act 3. There was a substantial upheaval in the corps last year, lots of dismissals and departures, and new graduates were hired, so they're not quite "one" yet. IMO "B" 3 shows the unity, technical and artistic level of this corps, much more than "Swan Lake," because it's ten times more exposed than "Lake." Secondly, they had just returned to Petersburg after a long tour to Japan, and immediately after that tour, their annual Christmas engagement in Baden-Baden, Germany. The corps just came off of dancing several "Beautys" "Lakes" and "Nutcrackers." To switch within 72 hrs. from these to two "Bayadere Act 3s" cold turkey is not easy - fatigue and jet lag, etc. Third, we'd like to presume that Fateev and assoc. rehearsed the corps effectively (as in months ) leading up to these two performances. Of course, none of these plausible explanations are excuses. Helene wrote: Helene, I agree with everything that you've posted except for Maestro Gergiev: It isn't Gergiev, (although he signed-off on the ballet director's recommendation in Fall 2008). He doesn't care about ballet, or the personnel decisions of the ballet's management. It's the ballet director and his chief stage manager who "markets" her by giving her preferred casting at home and abroad. Here's some trivia: In 2003 Somova lead "Paquita" for her graduation performance. She was then, as she is now. The facts that she hasn't progressed for (now) 7 seasons, functions in a hit and miss inconsistent trajectory, and has been elevated to Principal Dancer and a 2010 Golden Mask "Best Female in Ballet" nomination, speaks volumes about the ballet management's personal taste and priorities.

I wish all my fellow Ballet Talkers a happy, healthy and prosperous 2010 !

Georgina Parkinson was a wonderful ballerina and ballet mistress. She will be sorely missed. My sympathies go out to her family. May she rest in peace.

Catherine was kind enough to translate the ballet nominees from the link. Thanks Catherine! They are: 2010 Golden Mask Nominees for "Best Female in Ballet:" Natalia Osipova/ Soloist "Russian Seasons", (Ratmansky), Bolshoi Theatre, Moscow Yulia Manjeles/Medea "Medea" , Theatre of Opera and Ballet, Perm Anna Sharova/Soloist ""Who Cares?" Novosibirsk State Opera and Ballet Theatre Alevtina Mukhortikova/Juliet, "Romeo and Juliet", Musical Theatre of the Republic of Karelia, Petrozavodsk Alina Somova/ Tsar Maiden, "The Little Humpbacked Horse," Mariinsky Theatre, St. Petersburg * * * * Nominees for "Best Male in Ballet:" Vlaidmir Barnava/Mercutio, "Romeo and Juliet", Musical Theatre of the Republic of Karela, Petrozavodsk Igor Zelensky/Soloist "Who Cares?" Perm State Opera and Ballet Theatre, Perm Oleg Gabishev/Onegin "Onegin", Boris Eifman Ballet, St. Petersburg Andrei Merkuriev/Erast "Poor Liz", Theatre of Nations, Moscow Leonid Sarafanov/Ivanushka "The Little Humpacked Horse", Mariinsky Theatre, St Petersburg

Unfortunately no: They're not joking . I've come to the conclusion that Somova is the Michaele Salahi of ballet - the mother of all gate-crashers. Yes Natalia: Of course Tereshkina was and is superior. And that's the point isn't it? The question is, did Vicky's name, and the facts you mentioned above come up at all during the nominee selection process? It's rather obvious that the, what shall we call this (?), oh yes - fix - is in. This is insane atrocious.

The Maryinsky Theatre has received 13 Golden Mask nominations for 2010. http://www.mariinsky.ru/en/news1/news1/11_december/ *(There's a surprise nominee). The Golden Mask site has the full list of all categories and nominees in Russian. The English sublink isn't available yet. http://www.goldenmask.ru/news.php?nid=988&year= : Maestro Gergiev's Maryinsky label, and the Maryinsky Orchestra have received 5 Grammy nominations. http://www.mariinsky.ru/en/news1/pressa/otlichnoe_nachalo/

First Run Features has just released this new dvd by Laurence Gentot. http://firstrunfeatures.com/primaballerinadvd.html *Edit - Topic title cut off; should read "Zakharova."

I agree. Grigorovich's "Nutcracker' pdd was just one of their show-stoppers. Grigorovich's version was child's play for them. In Misha's version, Drosselmeyer intruded, and in Grigorovich's version the corps intruded. But this didn't matter. Only Katya and Volodya could clock in +10 min. ovations after the adage, and in between the variations and the coda. There was such kinetic energy in Maximova's languid, then lightening fast series of piourettes, you could feel it. She gathered such momentum at the end of the adage . . . they were awesome. They were the music. I can only imagine how they would have interpreted the Ivanov pdd had they had the opportunity. Hans wrote: Bejart's version: ( ?) IMO it's not the version that you can take your children and grandparents to see. The pdd is beautifully danced but it seems so out of "context" with the rest of his conceptualization. I think that a black tutu is visually at odds with the delicate chimes of a celeste, but I think that was his aim. The ballerina isn't supposed to be the SPF.

Ovation TV is broadcasting "Battle of the Nutcrackers: World Games" now through Christmas Eve. Former ABT Principal Dancer Susan Jaffe is the hostess. Entries from last year's "Grudge Match" include the Bolshoi's Grigorovich production, Mark Morris' "The Hard Nut," and Maurice Bejart's production. The winning version will be announced on Christmas Eve. http://www.ovationtv.com/Events/battleofthenutcrackers/

Here's the casting for the Festsielhaus, Baden-Baden engagement. Hopefully there won't be any changes . http://www.festspielhaus.de/en/what-s-on/p...%5Bartist%5D=95 Dec 22, 2009, "The Nutcracker" Masha: Evgenya Obraztsova, Nutcracker/Prince: Vladimir Shklyarov Dec 23, 2009 "Swan Lake" Odette/Odile: Viktoria Tereshkina, Siegfried: Vladimir Shklyarov Dec 25, 2009 "Swan Lake" Odette/Odile: Ekaterina Kondaurova, Siegfried: Evgeny Ivanchenko, matinee. Dec 25, 2009 "Swan Lake" Odette/Odile: Uliana Lopatkina, Siegfried: Daniil Korsuntsev Dec 26, 2009 - "Nutcracker" Masha: Ekaterina Osmolkina (or) *Alina Somova, Nutcracker/Prince: Denis Matvienko Dec 27, 2009 - "La Sylphide" Sylphide: Evgenya Obraztsova, James: Leonid Sarafanov Dec 28, 2009 - Ballet Gala - Stars of the Kirov Program I "In the Night" 1st Pas de Deux Anastasia Matvienko & Denis Matvienko, 2 Pas de Deux Ekaterina Kondaurova Evgeny Ivanchenko, and 3 Pas de Deux Uliana Lopatkina Daniil Korsuntsev Program II - DIVERTISSEMENTS 1. "Tchaikovsky Pas de Deux" Ekaterina Osmolkina (or) *Anastasia Nikitina & Anton Korsakov Chor. Balanchine) 2. "Parting" Evgenya Obraztsova & Vladimir Shklyarov Сhoreography by Yuri Smekalov Music John Powell 3. "Tarantella" Nadezhda Gonchar & Leonid Sarafanov Chor. Balanchine 4. "Auber Pas de deux" Alina Somova & Maksim Zyuzin 5. "Markitanka Pas de Six" Elena Evseeva, Phillip Stepin, Elena Androsova, Yana Selina, Anna Lavrinenko, Ksenia Dubrovina 6. “Don Quixote Pas de deux” Anastasia Matvienko & Denis Matvienko, Act 3 variation, Oksana Skoryk Program III "Theme and Variations" Viktoria Tereshkina & Vladimir Shklyarov, with Anna Lavrinenko, Yana Selina, Maria Shirinkina, Anastasia Nikitina, Konstantin Zverev, Fedor Murashov, Alexander Sergeev and Alexey Timofeev. *(Substitute if necessary).

Uliana hasn't danced Lilac for at least three years. The full-length roles she dances the most are O/O, the rare Raymonda, and lately Giselle. She's also acquired more Balanchine. In addition to "La Valse," "Diamonds," and "Symphony in C," she recently added "Scotch Symphony" to her rep. Besides Diana, the high caliber Auroras will not be dancing. Novikova is still on maternity leave, Osmolkina isn't cast and probably isn't going, and Dumchenko and Pavlenko never tour with the 'A' Team anymore. Golub's Aurora is unreliable. The big gun, the photon torpedo Aurora of this company is Obratzova, but she's been relegated to Florine during the current Japanese tour. If they pack her for Kennedy, she'll probably be Florine. Kondaurova's Lilac is excellent and if she were backing up Obratzova's Aurora, I'd set sail for that. Vicky has wonderful virtuoso technique, but IMO is better suited, and would be more credible as Lilac rather than Aurora. Matvienko and Kolegova are both boiler plate soloists. . I'm shocked she's not opening. That's two times too many plus overkill. There's no rest for the weary. The travesty continues.

This is very tragic news. My deepest sympathy goes out to 1st Soloist Anastasia Kolegova. Her husband, Sergei Tarasov was one of the victims in the recent Moscow-St. Petersburg train terrorist attack. The news reached Anastasia in Japan where she was on a tour with the company. He was the chairman of a large state corporation, and they were married last October. http://www.kp.ru/online/news/578532 *(Russian).

Thanks Natalia for the links ! This is going to be great!

Christmas has come early for Toronto and 1st Soloist Maya Dumchenko. She is scheduled to dance "Nutcracker," partnered by the Royal Ballet's David Makhateli, with Canadian Ballet Theatre in Toronto December 19 and 20. It's fantastic that she will get this rare opportunity to shine abroad . Maya will also be dancing "Giselle" with Alexander Sergeev at the Maryinsky on Nov 25 - another rare occurrence. http://academyofballetandjazz.ca/

Obratzova & Asylmuratova have received the 2009 Spirit of Dance (Soul of Dance), "Star" and "Teacher" awards from Russia's Ballet Magazine. Congratulations to them both! http://www.russianballet.ru/rus/soul.htm *(latest edition in Russian only). So far, there are no official reviews for Obratzova's Aurora debut in the Messel reconstruction. This wasn't a press performance. Hopefully, there are BT'ers in London who attended who will post reports. Obratzova has two more "Beauty" performances on Nov 14 and Nov 21. She also has a Maryinsky "Giselle" on Nov 19 sandwiched in between. Her Albrecht will be L. Sarafanov.

The Maryinsky has a new 1st Soloist on roster: Ekaterina Kondaurova! Congratulations Katya! . http://www.mariinsky.ru/en/company/ballet/first_soloists/