Cygnet

. . . to Hyltin and Fairchild (a most handsome Romeo!)---two very talented dancers--it's not their fault.

I agree. The ballet aired locally on PBS yesterday afternoon in Los Angeles. IMO there were several sections where the dance almost came to a complete stop. The music soared (where it wasn't cut); Martins' choreography didn't - and that's what was so frustrating for me. Also, I apologize if someone has already mentioned this, but Shakespeare didn't write, nor did he indicate that Lady Capulet found the sleeping potion vial . I paused and replayed that immediately to see if I saw what I had just seen. The production didn't match Prokofiev's score, which follows the action of the play linking the language directly with its' sweeping dramatic intensity. IMO every word that Shakespeare wrote are in those notes. Martins didn't articulate that in the dance for me.

As for Stahl, how could she challenge Martins on the "lack of experience" point? She had no point of reference; and more importantly, she didn't know her subject. Martins seemed perturbed that the "experience" issue was even brought up. He must have known that would have been an inevitable question.

Oh, but I should add that Ms. Stahl is also a member of the Board of Directors at NYCB, and volunteers a lot of her time at various events (including the "Live From Lincoln Center" event) to help promote NYCB.

Perhaps Stahl was too "close" for synopsis/intermission duties ? But that wouldn't give Stahl - a City Ballet

Board member the benefit of the doubt. For this occaision, the very least she could have done was educate herself before interviewing Martins. I mean, all the data on this ballet can be accessed. Stahl is the example that "LFLC" dance broadcasts should always try to engage bona fide, knowledgeable and objective dance journalists. The last time "R & J's" history was thoroughly and correctly presented on "LFLC," Martin Bookspan did the honors during final credits of ABT's live performance May 8, 1988, at the Met with Makarova & MacKenzie. And yes: That was the famous live performance where MacKenzie performed the tomb scene in his practice pants.

Niiiice!!!!! Thank you, Rosa! Yahooooo!!!!!!!!

Thanks Rosa! Congratulations to both Genichka and Katya 'O'!

Thank you Leonid!

. . . for now June 6th will be Viktoria Tereshkina (her debut?)

If it happens, yes. To date, she's only danced Juliet's Friend.

But you never know...

True. Since Novikova and Vishneva won't be coming, Vicky may be "Plan B" for August 3. My guess

is that Vicky is Novikova's sub for August 4, with Osmolkina as "Plan C" and Obratzova as "Plan D," as cast.

Fateev should seriously consider reversing order, from D - A, and pair V. Shklyarov with Obratzova.

Perhaps that will be Ms XXX's "try-out" as Juliet.

. . . They wouldn't dare wait until Amsterdam to try her out before unleashing her to the London public, would they?

No, they wouldn't dare. They may believe that an Amsterdam debut isn't "big" enough for her. My bet is either June 6, or August 3 at Covent Garden - sight unseen, no test drive.

If you want to have the best CD recording of the Sleeping Beauty, I'd go for Antal Dorati - Royal Concertgebouw Orchestra.

Co-sign: Dorati delivers the 5 star performance.

I'm very sorry to hear of Kurgapkina's death. The ballet world has sustained two huge losses in quick succession.

Just a few months ago, Ninella was honored at the Maryinsky with a "soiree/gala" evening featuring her pupils. That's why it's so important to give thanks, show appreciation and give due honor in due season while these gems are still with us. Madame Kurgapkina, rest in peace.

It only matters to Disney because they make countless millions of little plastic dolls and ornaments and lunch boxes and anything else they can dream of making a quick buck on that will have Aurora's image on it. And they have to guard against reproduction.

I agree; Disney is only trying to protect the image. I remember reading a few years ago that Walt Disney considered using the name from the Grimm version of the tale (Briar Rose), and a new score for the cartoon movie. He settled in his mind that there was a celebrated score already in existence, and (happily) he decided to use it. He also might have noticed the popularity of the name 'Princess Aurora' from the frequent Sadlers Wells/Royal Ballet U.S. tours starting from 1949. It seems that he didn't want to go against the familiar. MO.

Disney doesn't care about the ballets unless you specifically made your ballerina look like their version of her.

: The cartoon movie's "double" is the Maryinsky's Somova; there's a very strong resemblance.

On the 28th April Daria Pavlenko is dancing Maria in The Fountains of Bakhchiserai at the Maryinskii Theatre

Daria Vaznetsova replaced Pavlenko as Maria in that performance. Dasha Pavlenko will bourree between knives again as Street Dancer on May 16 (so far). Tatiana Tkachenko will be Kitri - ( for this casting decision )! She deserves more opportunities to dance leading roles in her home theatre, and not at the Hermitage & Palace Theatres, (venues of the Hermitage Ballet).

QUOTE (Natalia @ Apr 16 2009, 05:00 PM)

No, the performance on the 20th will be Irina Golub with Igor Kolb.

Golub as Juliet opposite Kolb is wonderful news! This is another tremendous opportunity for her! A word of caution: As with everything, nothing is etched in stone; casting is subject to change (and unannounced casting also), right up until curtain. There's one "R & J" performance scheduled in June: June 6. If there are no more "R & Js" performed during the White Nights Festival in July, it's high probability that this will be Somova's D-Day. "D" is for "debut". On the other hand, if June 6 isn't the date, Covent Garden will be graced with her debut as Juliet on opening night. That will be a double-dip of firsts for her: A Covent Garden opening night, and first Juliet. If that's their plan, to field her as Juliet - sight unseen and without a test drive, in a Covent Garden opening night, one must question the "logic" behind it.

No! I am in tears as I post this. May she rest in peace, and may God give peace and comfort to her husband. She was one of the highlights of humanity. She will be sorely missed. Sunrise: February 1, 1939. Sunset: April 27, 2009.

How about the Mariinsky's older Nutcracker with Lezhnina? My personal favourite.

I agree. The early Maryinsky efforts are superior on every level. My choices are the Kolpakova/Berezhnoi "Sleeping Beauty" & "Raymonda," the Komleva/Abdyev/Terekhova "La Bayadere," the Makhalina/Zelensky & Mezentseva/Zaklinsky Swan Lake" DVDs. Honorable Mention: The Tchyentchikova/Zaklinsky "Swan Lake" (PBS tape of the 1986 U.S. Tour at Wolf Trap Farm) is also excellent. Recorded during the telecast, the late conductor Evgeny Kolobov, (who died young), realized a musical performance despite the bad acoustics, that is a benediction to his artistry. Shirokov conducted the "Bayadere" & the "Raymonda" and the late great Victor Fedotov conducted the Lezhnina "Nutcracker," her 1989 "Beauty" with Ruzimatov, and the two "Lakes." The Bolshoi's "Prokofiev 100th Anniversary Gala" DVD (1991) was recorded live with Semenyaka, Semizorova, Bylova, Vetrov, and Archipova. It features rare backstage interviews with Ulanova, Vetrov & Semenyaka and

is extremely fine. The gala program consisted of Act 1 of "Ivan the Terrible," Act 2 of "Romeo & Juliet," (the Grigorovich version), and Act 2 of "The Stone Flower." Vetrov is interviewed while he's making up and preparing to dance Ivan. Ulanova gives her impressions about the ballet Ivan the Terrible, and her memories of working with Prokofiev. Semenyaka gives an impromptu interview immediately following her Act 2 Juliet, right behind the curtain. In "Stone Flower" Act 2, Semizorova dances a powerful Mistress of the Copper Mountain, and the character dancers out do themselves in this Act. IMO the company, the orchestra and the Bolshoi Theatre itself, never looked or sounded better on tape.

Interesting difference of opinion. I like most things about the Mariinsky 'Swan Lake' except for Gergiev's conducting. I don't like the 'Nutcracker' one bit.

I love the Lopatkina DVD; Gergiev envelops her in the music. But, in general Maestro Gergiev isn't a ballet conductor and he doesn't conduct ballet very often. Last month, he conducted the premiere of Ratmansky's new "Little Humpbacked Horse" during the Maryinsky International Ballet Festival. He pays meticulous attention to detail, but he rushes through Tchaikovsky. For example, in Act 1 Scene 2 & Act 3 of Lopatkina's DVD, the corps keeps up with him. However, they seem to be rushing toward his musical deadline in order to finish the patterns on time and in unison. This is especially the case with Act 3. If you compare the other two "Lake" DVDs and the Kolobov videotape with Lopatkina's, there's a huge difference. Fedotov and Kolobov, like Antal Dorati - let Tchaikovsky breathe. On the other hand, Gergiev hits all the points with all things Prokofiev. For example, his complete "Romeo & Juliet" on Phillips is simply outstanding. Another favorite is the Paris Opera Ballet's "Jewels" DVD. It may be Gallic Balanchine, but Paul Connelly and the pit are right on.

Thank you Leonid for the beautiful report ! Osmolkina is one of the Maryinsky's high caliber ballerinas "marking time" in the soloist ranks. She is one of the Maryinsky's purists, and I am ecstatic that she had such an important success at Covent Garden!

And this girl isn't even a principal at the Kirov? Time to take the Kirov staff to visit the men in white coats I think.

The management's judgement continues off the chart. IMO it's a disgrace that bona fide ballerinas such as Osmolkina, Obratzova, and others must go abroad, or "guest" with other companies in Petersburg, (such as the Hermitage Ballet), to

get exposure and experience. If they score a major success abroad, and if they're not on the Artistic Director's "Preferred Short List," when they return, they're "rewarded" with the bench, or no tours, for weeks, months, even up to a number of seasons. Unfortunately, if we consider all the notable exceptions extolled in the Mariinsky-Kirov link, the reality is

that non-expressive, turned-in, flexnastic, anti-classicists are in vogue at the House of Blues.

Thanks Natalia and Chiapuris for the wonderful reports! I'm sorry to hear that Obratzova and Shklyarov danced

a tango. What a waste - such "assignments" do not do them justice. Tereshkina is simply magnificent. Thank you

both for the beautifully detailed reports of her O/O and the performance. Quite simply, this is her Festival. Brava Victoria !

I may have one more chance to see Evgenia Obraztsova in a decent ballet, as she is listed on the big 'main poster' for the festival as dancing in tonight's Bayadere.....what - as Manu, the water-jug girl? Hopefully as one of the three solo shades but, still, the mistreatment of this great artist is unpardonable. But at least she is dancing a couple of bits. Daria Pavlenko is not so lucky.

Manu?! Are they serious?! Unfortunately, yes. I hope they don't consign Obratzova to the "Dumchenko Dungeon."

I agree Natalia: At least she's scheduled for this Festival - at all. Post Festival, here's some other things they're serious about: March 28 a "Giselle" debut. Who? A. Somova. No, they're not finished with us yet. April 4 "Don Q" with Tanya Tkachenko as a Flower Seller, Volodya Shklyarov as Basil, Katya Kondaurova as Dryad, and Dasha Pavlenko as the Street Dancer - backing up Somova's faux "Kitri." Imagine that .

I'm also sorry to hear that the audience was subjected to a one hour intermission before Lopatkina's "Scheherazade." There must have been a very good reason for the delay. IMO a P.A. announcement requesting the audience's indulgence, at 30 - 40 mins. wouldn't have been inappropriate; regardless of whether it was a podium or backstage issue. It's well known that Gergiev's unpunctuality is normal at home. Let's hope the rest of the conducting staff doesnt pick up this, as well as the black p.j. affectation. Bubelnikov has cornered that market.

Thank you Natalia for the wonderful report ! I am so happy that Ratmansky chose both Tereshkina and Kondaurova to take part in this premiere and open the 9th Festival. Also, it's wonderful that Plisetskaya and her husband Rodion were in attendance! What a rare

treat!

III. THEME AND VARIATIONS

Alina Somova...(..)

Cubanmiamiboy, I see your "Theme & Variations" and raise you a "Giselle:" Date: Saturday, March 28, 2009. Time: 7:00 p.m., Location: The Maryinsky Theatre, St. Petersburg. The debutante: A. Somova .

Sorry I'm on the late freight here . Thanks so much Natalia for the wonderful (Feb 20) review! I'm so happy to read your report that Part and Gomes made such a great impact! I always knew she had it in her! Well done Nika !

This is fabulous news for Katya Osmolkina (and) the Royal Ballet. It's great that she received

this invitation. This recognition is quite significant, because it's less than a month after her Maryinsky

debut which, btw, was a decade overdue.

Rahm Emmanuel, White House Chief of Staff.

I've seen this piece of information several places, but no one has said anything about his training -- where was he studying?

He graduated from Evanston School of Ballet. He won a scholarship to the Joffrey Ballet but turned it down to attend Sarah Lawrence College. That college has a strong dance program. In 1981 he received his B.A., then earned a master's degree in Speech and Communication from Northwestern University in 1985. While he was an undergrad, he got his start in politics by joining the congressional campaign of David Robinson of Chicago.

Rahm Emmanuel, White House Chief of Staff.

Hi all,

for my ballet collection I'm considering to buy the 1985 performace of The Nutcracker by the Royal Ballet with Lesley Collier and Anthony Dowell (DVD). Any comments or suggestions? Do you think it is too "old" compared to more recent performances?

Hope to hear from you.

Thanks in advance.

Antonella

Hi Antonella, IMO the Collier/Dowell dvd is the best compared to the more recent ones available.

It's one of the few records of Lesley Collier on film, and one of her final appearances as a Royal Ballet

principal. She was a classically pure and regal Sugar Plum. Dowell is also quite excellent in this performance.

Well, I suspect that it may be a "variation" on what Mr. B envisaged. Nonetheless, Ms. Somova is probably better in the neo-classical works than in the classics, although musicality is important there, too. I wish her the best, really. It hurts me to see problems with anyone in this company.

Natalia, I agree. This spectacle is painful to watch unfold. It's not funny; it's painful. She made her full-length Kitri debut in July 2007. I think it's reasonable to expect some kind of manifest improvement in the interim. And yet, her offering last night was considered Principal Dancer caliber, acceptable for a paying audience. Her nano-second promotion was their judgement call. Couldn't they see the probable outcome in advance; during rehearsals & coaching sessions? If the company authorities can't see the problem(s), (or rather), choose to ignore the problem(s), it adversely effects not only the individual under discussion, but the entire company. It's unfair for everyone concerned, including the audience. Somova proved herself incapable of leading the performance last night, and "Don Q" isn't the only Petipa work, (or neo-classical work) in her study list that needs to be addressed. My questions are: 1) Will they do this, and 2) Do they dare reconsider this appointment?

Surely, they will not (should not) contemplate handing her Saturday night's performance. Will they ?

Slightly : The "debuts" just keep on coming. Next up? Balanchine's "Theme and Variations."

Date: Jan. 31. Location: Maryinsky Theatre. Abort mission.

Thanks Natalia and Hans for your wonderful and detailed reports!

Regarding the decline in the number of British dancers in the British national company: what are the main explanations have been offered for this? Have suggestions for reform been offered by anyone in a positioin of authority?

(I write as someone who recently watched, while channel-surfing, the rather wonderful scenes concerning Billly Elliot's audition for the School. )

Is this a matter of decline of interest on the part of potential students? Competition from other artistic forms? Decline of recruiting efforts, starting with the youngest students, around the country? A de-centralization of the British ballet establishment, and a corresponding increase in British-born dancers in Birmingham, etc.? Lack of funding? Lack of caring? Or the dread (and rather useless) explanation: "All of the above?"

Surely things could be done to correct this trend -- IF those in charge think it's worth correcting.

The Guardian's Luke Jennings addressed this issue and the consequences in this September 18, 2008 article.

http://www.guardian.co.uk/stage/theatreblo...ballet.training

Both the Kirov and the Bolshoi companies were better companies when the stage was filled by older dancers. Why, because in general it is was their home, their life and their experience brought a weight to performances that in general has been lost especially in character corps work. Those old dancers loved being on the stage and danced as if they loved it and lived their roles as if it was their own lives.

In January 1989, Makarova discussed this issue on the "Leningrad Legend" Kultur dvd. There were two extended segments where she coached the young Elena Pankova in the 2nd variation from "Paquita," and the young Zhanna Ayupova for her first Odette/Odile. Even then, she noticed a big difference in the company she had left 18 years earlier. She lamented the fact that the young members had few, " . . . examples of master dancing." She also mentioned that when she started out, she had been inspired by watching the "masters," and that, " . . . inspiration is important in the theatre." She was concerned about the technical and artistic development of the younger members, and that they should take the initiative to, " . . . develop their inner world." Fast forward to the present. With a few stellar exceptions, exactly what will this new generation learn and from whom?

Vinogradov did get rid of the older dancers and the tradition you talked about that made the two major companies what they once were, has been diminished

Vinogradov didn't limit himself to just the older dancers. Before his removal in 1995, he "ran off" dancers such as Larissa Lezhnina. Elena Pankova, Irina Schapsits and Anna Polikarpova (to name a few), also departed. Of that generation, (mid-late 80s graduates), the ones who stayed and eventually became Principals were Makhalina and Ayupova. At that time Asylmuratova was in her dancing prime, and she repeatedly opted for international guest engagements, notably with the Royal Ballet and Petit's Marseilles company. The immediate past Director of the Ballet, Makhar Vaziev, also saw these departures on his watch: Natalia Sologub, and Dmitri Semionov (Polina's brother), and others. When a new Director comes to power, his/her tastes and vision (or lack thereof), prevail. Before he was appointed Interim Director, Fateev's was the company's main Balanchine repetiteur, and still is, so it figures that he would favor Balanchine mixed-bills. IMO what the Maryinsky Ballet needs is a resident choreographer, or a Director who is also a choreographer. Ideally, this would be the same person. For all of Vinogradov's pecadillos, he was (also) a credited choreographer: The Maryinsky hasn't had such since 1995. Hopefully, Fateev will try to develop and encourage young choreographers, or stage his own work. Obviously, the company is in transition; and as someone stated earlier, "time will tell" what the ultimate results will be.