Cygnet

If Somova substitutes, I think she'd be immediately recognizable, insert/announcement or no insert/announcement.

True Helene: Somova's in a class by herself !

I ordered my tix this past Sunday, and got my seat confirmations for Tereshkina's "Don Q," and

Lopatkina's "Giselle." I hope the principal cast lists announced for the OCPAC engagement

stay valid.

Natalia wrote,

. . . they'd better not substitute The Unmusical Gymnast/spokesmodel . . . at the

last minute."

They're reknowned for cast changes that are neither inserted in programs, or announced on the p.a. system.

That said, there's a 99.5% chance that Alinashka will grace us with her Dryad and Myrtha. This prediction also includes her full-length Kitri, (at least one performance in Berkeley, and/or substitution at OCPAC). Also, Madame Vazieva may have prepared her for another American debut. She made her Aurora debut here in L.A. in October 2005. I'm dreading an unannounced Giselle debut, or her full-length Kitri the night I booked for Vicky.

There's a poignant "report" by beloved Nina Ananiashvili in

the August 12 edition of the Guardian. The State Ballet of

Georgia, is participating right now in the Edinburgh Festival.

http://www.guardian.co.uk/stage/2008/aug/12/ballet.dance

Natalia, I'm surprised that Zakarova doesn't seem to be participating in this new production.

As said, these are two different productions and quite different in spirit. The DVD with Kirov/Kolpakova is the Konstantin Sergeyev production; both the Bolshoi DVDs are the Yuri Grigorovich staging, grander in scale, differences in storyline, and with the character of Abderakhman considerably developed (as said by Helene a starry role for Taranda). I always had a soft spot for the old Kolpakova film, firstly because of her, but also because of having a performance of the great Kirov of olden times - something quite different from what we can see now. In this way it ranks with the old Bayadère performance with Komleva and Terekhova, or the Sleeping Beauty with Kolpakova.

I totally agree. Taranda was awesome; simply devastating on both Bolshoi tapes. Also, one can clearly see the stylistic difference in both institutions' approach to character dancing. IMO, the attention to detail, and aristocratic style in the Mazurka and Czardas on Kolpakova's tape are unsurpassed. Exemplary, but then again they did it first . If you want super-size, uninhibited character dancing, (Moscow style), that's on the Bolshoi tapes. For example, on the soundtrack of Bessmertnova's tape, during the presto in the Czardas, someone (onstage, or close to a mike) whistles . Sometimes in Russia, (during a Russian folk dance), one hear's this sound effect: Obviously, they enjoyed dancing this piece very much .

Just for the record, Kondaurova is a natural redhead. She rinses the color lighter/darker but it's always some shade of red. When she premiered the Glass Heart here (March 6) and danced in numerous Swan Lakes, her hair was darker red (hairspray/wetter hair = darker look). No one in the company wears wigs for Forsythe.

SanderO, you asked what the Kirov used to be. While I don't know that the New York immigrants you met were necessarily uhm, cultivated enough to comment, they may be, if they were avid balletomanes and lived here in St. Petersburg, which was Leningrad, at any point before 1990, esp in the 70s or during the Vinogradov era. But the comments they made do ring true to a great extent, mostly for ballerinas like Somova and Vishneva who are intent on capitalizing on the showmanship aspect of the Kirov, but do not by any means epitomize or exemplify Vaganova technique. What do I mean by that. Vishneva dances in nearly every leading ballet theater in the world -- guest artist at ABT, at the Bolshoi, touring her own show, Beauty in Motion, and before that, Kings of the Dance, the list goes on. I recently posted on Criticaldance the results of yesterday's press conference with Gergiev in which he commented that, if Vishneva was only performing one time per year at the Mariinsky Theatre, she was not technically a prima of the Mariinsky. A prima perhaps, but not of THIS theatre if she doésnt perform here. I know many people who agree with the assertion as well that she is not really a Russian ballerina in terms of plastique or expression. Her on stage persona is very much American, if you will, very dramatic, very Broadway-esque. This attracts crowds, but it isn't the Russian "way". Somova, is another but much poorer (or much stronger, however you like it) example, for her uber high extensions and lack of artistry, lack of restraint. The ballerinas of the Kirov in the past were known for portraying more artistry, more discipline, more strength, more tasteful dramatism. It wasn't about high legs and flashy jumps. It wasn't about how many foreign tours you could go on with other companies, it wasn't about making more money. It was about the history, the tradition, the style. The corps de ballet of the Kirov remains the best in the world. (Gergiev agrees with me on that :-)). But the upper layers of the Kirov have few traditional ballerinas left. Lopatkina is considered, by locals, to be the great traditionalist in this theatre. Tereshkina, technically, is following in her footsteps although the two are dramatically very very different. It is hard to put this into words if you didn't see the Kirov in the 70s or 80s but suffice it to say that "democracy" isn't always good for classical traditions. I guess that is one way of putting it.

Well said, Catherine!

I'd like to add Pavlenko along with Tereshkina and Lopatkina, to your points.

Since Ayupova's recent retirement, IMO they are the new triumvirate of tradition

re female Principal Dancers in the Maryinsky Ballet. I'm especially elated with

all of the great news about Kondaurova's success during this New York

engagement: She should definitely be considered for the next PD

promotion cycle, and sooner rather than later.

Ayupova was a breed apart; she will be sorely missed! I first saw her

as the second soloist in the "Swan Lake" pdt during the 1986 North American

tour, then went on to witness her Masha, Raymonda, Odette/Odile, Aurora,

and most recently, Emeralds. In live performance, she was grace personified.

Hopefully the Maryinsky's "Jewels" will be released soon. POB's version is available;

and it would be nice to compare both companies in this ballet. Perhaps the POB

dvd has been a consideration for holding back the Maryinsky version. (?)

Thankfully, Zhanna's exemplary and regal Aurora has been preserved, (although in

snippets ), on the dvd "Sacred Stage." She is also featured as the Girl in

"Le Spectre de la Rose," on the "Kirov Celebrates Nijinsky" dvd, filmed during

the Fall 2002 visit to Paris' Theatre de Chatelet. A sublime Prima Ballerina!

Zhanna, thank you for sharing your gift with us !

It's great they're bringing "Don Q" and "Giselle!" I hope they

showcase Alexander Sergeev as Albrecht. He's Gennady Selyutsky's pupil.

Reportedly, he just had a stunning debut opposite Obratzova

on April 4 .

"She danced like a peroxide blonde with the odd root showing. Wait a minute.... She danced Shades like the whole thing was just a bunch of dull stuff between opportunities to show how high she can kick (I give her points for doing, or rather trying, doubles in both directions while holding the scarf, though.) And those arms. Dear God. And those jetes where she'd kick her front foot up so high it was like the prow of a Viking warship. Truly, truly ugly."

(Eric Taub on Somova's Nikiya, April 1 at New York's City Center).

Thanks everyone for the reports!

Coppelia with McBride (will there ever be a better Coppelia

I cannot imagine that there could be. I saw it at a Saturday matinee in the late 80s, or could have been '86 or '87, and she was perfection. Who else saw this utter delight back in the day?

I did! McBride was simply wonderful!

Hello everyone,

From what I understand, Lopatkina holds a certain amount of respect and clout with Gergiev inside the theatre. Combine that with her desire to become AD (not every principal dancer, it should be noted, would want the position) and that puts her at the top of the list, as Natalia noted.

Richard to your question, Gergiev adores the opera... and the opera comes first in the MT...

I agree with Catherine and Natalia. Due to the mutual respect and professional relationship that Gergiev and Lopatkina have, she will probably be at the top of his short list. She was Dudinskaya's student, and Dudinskaya was Vaganova's student, so there's a direct lineage here. On the other hand, Gergiev has never been a balletomane, he is an opera man. Nor does Gergiev understand the needs of the ballet, either musically, (the Lopatkina "Swan Lake" dvd and other CDs), or aesthetically, (failure to build the new theatre, and the rehearsal "space" the ballet's been accorded). Also under Gergiev, the Orchestra received a new concert hall. Here's another example: Does anyone remember the infamous Shostakovich marathon at the London Coliseum two years ago?

IMO Uliana couldn't do worse than Vaziev, and neither could Altynai. Even Gennady Selyutski would be an excellent choice. Consider this: The number of eligible choreographers can be counted on one hand right now; and most of them are already committed. Gergiev will need to start looking as soon as possible and make a selection - even if it's an interim selection.

Mashinka,

I also thank you for bringing everything to the table with your accurate assessment of Zakharova.

IMO she is a very poor imitation of her coach Ludmilla Semenyaka - particularly as Raymonda &

Aurora. Moreover, Aegina in "Spartacus" would be a huge miscast for her, except for the split in

Act 2. The Bolshoi has far more technically superior artists: Masha Alexandrova, Masha Allash

and the gifted Natasha Osipova. At least these ladies, and Zakharova's "hero," Sylvie Guillem

are 1) alive, and 2) themselves onstage.

Faux Pas wrote,

This whole idea of Part staying in New York and working out her problems or McKenzie having a Scrooge in the last scene of "A Christmas Carol" total change of heart and making Veronika a principal is quixotic. That would be wonderful, but it ain't gonna happen.

That's the truth. Even if she were to reconsider, it wouldn't be the last scene in "A Christmas Carol," but rather

the first scene in"Oliver Twist," when Oliver faces Mr. Bumble with the empty bowl saying, ". . . please sir,

I want some more." Part's journey has been one of patient endurance and protracted disappointment in

both ABT and the Maryinsky. If she were to stay with ABT, what would she have to look forward to?

More of the same? Lady Capulet until retirement? Probably. It doesn't surprise me that she made this

decision. Whatever life has in store for her, I wish her great success.

I'm not surprised; it's about time she made this decision.

Faux Pas wrote,

All I can say is that Veronika made ABT a more interesting and diverse company. But she needs to be a prima, not a soloist because she is so different, so unique. This uniqueness also makes her not an ideal "team player" which is what McKenzie clearly wants. I am not sure that given the way her career has been shaped that she is so "adored" by McKenzie but that is just informed speculation.

Roger that.

Good luck to you Vika - much love always !

I wish that they had filmed both the "Bayadere" and "Beauty" reconstructions.

There doesn't seem to be any plans to do film either one. The Sergeyev/Chabukiani

"Bayadere" is the version that's performed and toured.

' . . . I hope it's not with Gergiev -- his recording of the 1895 Swan Lake was very disappointing. Fedotov still rules!'

Agreed: The corps could barely keep up with Gergiev's baton in the White Acts.

I've been wondering something. Why is it that some dancers are promoted into the corps and stay there for years and years while others spend about 20 minutes in the corps before they're promoted to soloist?

Does the (enter the job title of whoever promotes ballet dancers) feel that some dancers aren't suited to be soloists, so they stay in the corps until they leave or get fired? Do dancers choose to stay in the corps ("Yeah, thanks for thinking of me, but I kinda like dancing in the back. Why don't you promote her over there?")? Is it due to the fact that some dancers have the talent to get promoted to soloist quickly, while others need years of performing experience first?

The same thing happens with soloists. Some are promoted to principal the same year they become soloists, others have to wait a few years.

I just feel like if I were a 6-year corps member, I wouldn't be jeteing for joy if some apprentice was brought into the corps and then bumped up to soloist 6 months later.

I don't have anything against people who stay in the corps for a very short time, or a long time, I just think it's odd that there's such a difference in the time spent.

There are many factors that can determine the career timeline and trajectory of a corps member or soloist, and yes (in some cases) Principal Dancers. Some of these factors are: Talent, attitude and temperament of the dancer; the Artistic Director; choreographers (resident and/or guests); company repetiteurs/coaches; the management's policies; the company's

annual budget; audience favorites; Artistic Director's favorites; individual patrons/lobbyists, and prayers.

Ngitanjali & Hans, well said! I totally agree with you - both of you hit all of the points.

Hans you mentioned Maya Dumchenko stating,

I also agree re: Dumchenko, she is more of an Odette. What mesmerizes me about her is her unflappably calm technical assurance. She never hesitates, she just dances each step as if it's the most natural thing, and this allows her to have a serene, otherworldly elegance (I'll bet her Nikiya would also be quite special).

Unfortunately, Dumchenko hasn't been given the opportunity to essay either Odette/Odile or Nikiya.

She graduated in 1995, and has been a soloist since 1996. Her rank, (for a number of years) has been

first soloist. She has danced in the pdts in "Swan Lake," and "Bayadere" Act 3, as well as Henirette

and Clemence in "Raymonda." Maya is a wonderful Giselle. On the other hand, Lezhnina has essayed

both O/O and Nikiya successfully with DNB in Amsterdam. Both she and Lezhnina are artistic

sisters: They are classically pure ballerinas. My guess is that if Lezhnina had survived Vinogradov

and stayed, she might have been on the same "career path" as Dumchenko. Obratzova is another

artistic sister of Lezhnina and Dumchenko. Notably, all three ballerinas excel as Aurora and Juliet.

I won't go into the differences between the Vinogradov and Vaziev regimes. Classical purity,

taste, style and substance have been set aside in favor of what Ngitanjali calls "the wow factor."

The manifest consequences of their artistic policies were eloquently covered above in the previous posts.

She was a wonderful and influential Giselle, as well as Juliet. She will be sorely missed.

It must have been something. (And I have difficulty seeing Merle Park in the role.)

It was something: Dame Merle Park was miscast as Isadora Duncan. I think Lynn Seymour would have been the best choice; but Ashton had already created a minor one act gem for her called "Dances in the Manner of Isadora Duncan" a few years earlier. MacMillan's full-length "Isadora" would have been an inferior 're-dux' for her. She had already scored a major triumph as the original Mary Vetsera in his (then) most recent full-evening work, "Mayerling" (1978). MacMillan might've wished to 'share the joy' by creating a full-length on Park for a change, but this was the wrong subject. Sibley created "Manon" (1974), although the role was created on Jennifer Penney due to Sibley's illness at the time, and Seymour created "Anastasia" (1971). Seymour at that point, had three full-lengths created for her: Mary, Anastasia and Juliet > if you count "Romeo & Juliet" (1965), in which Fonteyn got the premiers in London and New York. Seymour left the Royal in 1980 to direct the Bavarian State Opera Ballet in Munich. She returned for a short period in 1981 when this ballet was being choreographed, then she retired.

How did he deal with the fatal accident, BTW?

Park was laid out on the back seat of a Bugatti convertible onstage,

with the driver's side door wide open. I vaguely recall that she was

wearing a suit, with a matching cape and wide hat, complete with cigarette

and cigarette holder. What I can't remember is how the 'dance' got to that point.

Thank you so much Natalia for the insightful and detailed reviews! They are much appreciated!

Are there any administrators whose cloning we should lobby to prohibit?

LOL!! I can think of two ADs in two hemispheres.

(Dare I state who they are)? Nah!

Smakov's "The Greatest Russian Dancers," Knopf Publishers (1984).

I consider it my duty to counter the previous post. Sure, the Kirov production is pretty dowdy and Kolpakova's hat in the last act is funny (so is some of Olga Iskanderova's overexcited dancing), but......the tone of the ballet is mostly enthralling and matches Glazunov's score wonderfully. In Act One, the sequence of the "Romanesca" pas de quatre for Raymonda's friends in heeled shoes followed by her dreamy solo with the scarf....fantastic. And Kolpakova? What I see in her performance is the epitome of Petipa classicism -- she never hurries, tenses or worries, just serenely and beautifully offers the choreography with supreme confidence and clarity. I haven't seen much dancing that surpasses her "Vision Scene" adagio for floating ease and grandeur. And to think she was 47 at the time....amazing. She doesn't try to be mysterious and Hungarian in that last variation; she doesn't have to. She's the same beacon of beauty she has been all along. I urge anyone interested in the Maryinsky, in Raymonda and in classical dancing to see this DVD.

I totally concur with you. I received the dvd yesterday and my impression is that this is indeed a collector's item.

I just don't know where to begin. Irina Alexandrovna was in a word - flawless. Acts 1 - 3 were a revelation on all fronts and by all participants. In contrast, on the Bolshoi tape, Semenyaka's interpretation was more extroverted and coquettish with a flourish. But Kolpakova's Raymonda was a choreographic recitation of Glazunov's score. This is 'bel canto' master dancing.

Variation 1 - Irina's entrance and 1st variation were crystal clear, her classical purity and authority beyond compare.

Variation 2 - the scarf variation: Poetry in motion.

The Dream pdd - I shed tears of joy!

Variation 3 - Irina had total control of her body in the center work of this variation; and her transition to the coda was effortless. Her transitions to every coda in this performance were effortless.

Variation 4 - Semenyaka alternated her hops en pointe, many ballerinas do. Irina executed these without alternating, and by delivering one lightening entrechat with each hop en pointe in the diagonal down to stage left.

Variation 5 - She danced this to Glazunov's original tempo, (for once), and didn't slow it down to a 'beat' where it would

make Makarova look at her watch. The bourrees were each identical fine diamonds, crisp and skimming the stage. Her

caractere port de bras was Magyar and exemplary. As for "flapping" hands, Sylvie Guillem was the extreme anti-thesis;

she began this variation as if she were lighting a match.

I think that the Bolshoi's duel scene in Act 2 is more violent, more cinematic and more convincing than this version.

I laughed out loud when Abderakman knocked Jeanne's helmet off of his head. At least the costume design dictates

that it look like a knight's helmet, and not the white plumed silver samovar that the Bolshoi Jeannes wear. A+++ to

the Maryinsky's 1980 ensemble! . As far as the scenery and costumes are concerned not to worry; I saw the current staging last year and thankfully, it's been upgraded . However, in the Apotheose, Raymonda and Jeanne ride off into the sunset on what looks like two baby dinosaurs. These are supposed to be horses in full armor, but even the Budweiser Clydesdales aren't as big as these moving props at the end of the ballet. I adore the beautiful lift that we first see in the Dream sequence before the waltz and pdd, and at the end of the ballet. I hope they reinstate this lift at the end for New York.

The Music Corner

Shirokov conducted the score beautifully, and put the music under their feet.

Mashinka, Sveta Zakharova is a Russian MP? Did she just come into

office with the recent election? How long has she been a politician?