Cygnet

It appears that this Sleeping Beauty production is going to Disneyland in July -- well, not literally -- but to the Orange County Performing Arts Center.

I have to politely interject... Just because the Orange County Performing Arts Center is in closer physical proximity to Disneyland doesn't mean that it's all theme park fairy tale land on stage. They've made some particularly daring programming choices in the past few years - the sole US engagement of Bigonzetti's Aterballeto, return visits from Hamburg Ballet doing what one would hardly characterize as traditional story ballet, Nederlans Dans Theatre, and a pretty interesting "event" from Merce Cunningham that had the audience going from hall to hall. We do get quite our share of story ballets, but I'd argue that with a strong presenter like OCPAC, Southern California has arguably seen more international dance companies - every year and regularly - than New York City. And we certainly have the money that Disneyland has helped pour into the county to thank for that.

And don't forget that this Sleeping Beauty is also going to the Kennedy Center in Washington DC. What could that possibly mean?

Thanks for your interjection Art076 . I'd also like to add that OCPAC has not only featured the companies Art076 listed above, but the Maryinsky - the Opera & Ballet last October. Since we're talking about "Sleeping Beauty" performances, production values, and the future of MacKenzie's newest edition, L.A. has seen the real deal with the Maryinsky. So, it makes me wonder what possessed MacKenzie & Assoc. to think they might pass off this version in comparison to either the Sergeyev which L.A. has seen, or the 1890 - which L.A. has not seen? ABT will open "Beauty" at the OC on July 17. Just because Disneyland and Hollywood are here doesn't mean L.A.'s balletomanes and connoiseurs want to see "Disneyland" and "Hollywood" in Petipa's classics. And it certainly doesn't jazz me to throw down the plastic for this version, and spend

$ 3.55 per gallon to drive 43 miles to be disappointed. If it weren't for Part . . . I'd pass, and Vishneva will not be with ABT during the OC engagement. So, what's Plan B if a new production of "Beauty" is disparaged by critics, stays afloat by star power, then devolves into a code blue emergency without that?

Hilary Ostlere weighs in with a review in the Financial Times:

http://www.ft.com/cms/s/c3ad0a3e-1300-11dc...0b5df10621.html

Traditionalists will take issue with American Ballet Theatre's new production of this beloved classic, and with good cause. Much has been altered or abandoned for little reason, except the stated one by artistic director Kevin McKenzie of investing it with a heightened sense of colour and new energy, supplied by a choreographic committee including Gelsey Kirkland, McKenzie and Michael Chernov and unstated others for the Garland Dance and Hunt and Vision scenes.

IMO Hilary's mention of Veronica's opening night gala mishap, could have been omitted.

Clean slate; new day.

Congratulations Nica! I knew you could do it - I had no doubts! And bless you Marcelo for just being you! Brava!

I am still incredulous that after two breathtaking Nikiya's---Part is still doing corphee roles.......and Hee Seo was incomparable in the variation---further proof that Part should only be doing ballerina roles

I could not agree with you more. In fact, I meant to post this as well. I was thinking about this in the car on the way back home last night. For Veronika to have done Nikiya so beautifully and then to be the Third Shade?

I don't get it. And while she danced it beautifully, I was really hoping to see Hee Seo again.

Nika's being shouldered with responsibility of maintaining the reputation of a Principal Dancer, when she isn't one.

It seems to me that she's being held to a higher standard than the sitting PDs. Is that fair? IMO at this stage, she shouldn't be doing supporting/minor roles in the classical repertory. After the 4.5 minutes of her Rose Adagio last week, will she be doing cameos as one of the Prologue fairies, or as one of Aurora's friends? Why is she pulling double duty shifts with

retro-yo-yo-casting?

But for ADs to allow dancers to dance principal roles (and premiere them), ADs HAVE to be sure that dancer is technically strong enough and consistent enough to get through the role adequately. Otherwise they risk alienating a large portion of the audience (who would spend $100 again after that?). Perhaps even worse, the company's reputation suffers (for having ill-prepared dancers) and it exposes the dancer to a kind of negative spotlight that can only hurt their career.

This is the source of the problem. I alluded to this point and the inevitable consequences in my previous posts. The dancers do not make the artistic, managerial or casting decisions.

First of all, none of us know the amount of coaching Veronika/benefactors receives. Her partner is usually Marcelo Gomes, one of the most excellent danseurs with a reputation as a great partner.

Marcelo, unfortunately, was not one of the suitors in this Rose Adagio.

What I found distressing about her fall off pointe was not so much the fall in itself -- which can happen to the even strongest balancers on a bad day -- but her trouble getting back up. It took a couple of tries. I can attribute this to nerves, but it was bad enough to distract me for more than its too-long duration.

. . . [D]ancers endure injury, pain, inadequate rehearsal, hostile management all the time. The best way to sidestep all of that is to blow the audience away onstage.

And the best way to blow us away is when a nurturing management ensures adequate rehearsal. Now what?

Exactly.

Now what?

Perhaps Veronica should consider approaching Mackenzie with the request to reprise Lilac instead, or postpone her debut altogether. It wouldn't hurt her to devote more study time to Aurora - more research and studio time doesn't hurt anyone. My guess is that MacKenzie wouldn't (shouldn't?) fault or penalize her for requesting a withdrawal, or a 'stay' on those grounds. A good run is better than a bad stand: Re-group and come back when you're strong enough. That's why

this shot was so crucial for her.

Next steps? If her withdrawal is called for by the ABT Executive Board, it will be based on box office response. That will depend on how many exchanges and cancellations come through the system for June 1 and beyond. Unfortunately, any action against her may include anything and everything from benching her, to dismissing her immediately, or not renewing her contract at the end of the season.

I found most of these comments about Part most distressing......as Swan Lake is not about 32 fouettes, Sleeping Beauty is not all Rose Adagio.....all comments of her future status in the Company should be on hold until the end of the season. I can only imagine how crushing these comments must be to an artist as sensitive as Part....

As someone who has seen Veronica, both with her home company, at home and on tour, and with ABT, I have to come to her defense.

50% of the Rose Adagio balances are the responsibility of the four partners, as one previous knowlegeable poster stated.

If Nica didn't hit her center, that's one thing, but the larger alarming problem is that it seems ABT doesn't have any princes

who know how to get in sync with, present, or anticipate the ballerina's center, or her needs on a moment's notice. And

based on the reviews that the company received this past February in Paris and London, that is just one of the

problems with this company, a huge problem that MacKenzie hasn't addressed.

You can't present Petipa without bona fide experienced princes. They have to come from one coherent school of ballet

and they have to be trained, brought up in a tradition and heritage of partnering where these kinds of incidents rarely, if

ever, happen. For example, for the Rose Adagio the POB uses older, experienced danseur nobles, the Maryinsky also; and the Royal used to.

Has anyone stopped to think about the odds against which Part has come to be where she is today? Or considered that perhaps internal politics inside ABT are not entirely fair to ALL talented dancers? Has anyone considered that the support that Ira D. and Vishneva receive, not only from the likes of Kolpakova in the first case, and countless benefactors in the second, are not present in the same degree for Veronica Part? Who is Veronika's coach? Who are her partners? It is a well known fact that even the best ballerina can be pushed offbalance by inadequate partners. Were the four suitors well matched to her height and line? Are they in the same proportion to her size as the suitors who will be cast against other Auroras? If not, then we cannot judge Veronica for the inequities. That responsibility falls to Kevin MacKenzie for casting and for company contracts.

Has anyone considered the atmosphere under which Part left the Maryinsky for an opportunity to dance -- to dance, not to stand onstage and walk around as Lady Capulet. Has anyone counted how often she is in fact cast? I can say for sure

that although Gabriella Komleva was her coach, Makhar Vaziev seldom cast her in Petersburg. When she came to

ABT, she already had Nikiya, Odette/Odile and Raymonda under her belt. So, if she attained those roles at the Maryinsky, unabridged and complete, productions that are un-matched in authenticity, a feat which is not an easy thing to do, there's no question that she can execute the steps for Aurora. It is one thing to see a ballerina's performance, one in which she is "off" that night for any number of reasons, and conclude that the dancer is bad.

The knife cuts both ways. It is only by additional time in the studio with coaches who care, and then during the performance that any dancer can become great, approaching perfection closer each time. Even the most talented ballerina, if not provided with adequate partners, coaching or dancing time onstage, will come to grief during a performance.

In closing, my first live Aurora was Lesley Collier. When she came to the last promenade in the Rose Adagio, she almost fell over; the fourth suitor, staying alert, pulled her back up from her bobble before she lost balance and hit the stage. History judges her as one of the great Auroras.

I ask those who have judged Ms. Part harshly to please reconsider your views, after the premiere. I for one hope that she will pull through.

How can Aurora have a 100 year sleep, when Kevin's libretto calls for a minimum

200 year leap in the timeline? Does it make sense to take the scenery and concept and jump

from the middle ages to the early 17th century? Is Lilac supposed to be Dr. Who, and

Aurora and her court supposed to be time travelers? Maybe I'm thinking too hard.

Secondly, this sounds about as unauthentic as it could possibly be. One would think the

Maryinsky's 1890 production concept were as complex as this, but it isn't. And yes,

where is Act 3? I think, either do it all, complete, or revive the 1941 "Aurora

Wedding," or do nothing. But please, don't cut Act 3 when you advertise the new production as

"after Petipa" and "authentic."

Thank you so much Chiapuris for your beautiful reports!

I agree with your "nit-picky detail" regarding Cojocaru's accessories. Whenever I've seen her perform, I've also noticed the appalling condition of Cojocaru's shoes. The shanks and the boxes are in very poor condition, to the point where there's almost no support. There's a reason for this. At 17 she sustained a stress fracture when she was in the Kiev Ballet, and at that time, she either didn't seek, or wasn't given medical attention for it. London Times reporter, Laura Deeley interviewed her recently (February 10, 2007), and asked about suffering for art.

In Cojocaru's own words:

Q: You often had to suffer for your art; how do you manage it?

A: Most of us dance through the pain of injuries because we love dancing so much. The passion for the work and the adrenalin you feel when you are on stage eclipse the pain.

Q: When did the problems begin?

A: At 17 I started to do jumping roles, such as Amor in Don Quixote. No matter how strong a dancer you are at that age you are still growing, and all that jumping is not good for your bones. I ended up with a stress fracture in one of the bones of my foot. I didn’t know I had it, so I kept on dancing.

Q: Did you ever receive treatment?

A: I was dancing in Ukraine at the time and was not given an X-ray. With this kind of injury you don’t feel it so much when you're warming up and dancing; it’s when you stop and the body cools down that you realise just how bad it is. I rested and, with time, the pain went away."

Source: http://women.timesonline.co.uk/tol/life_an...icle1360241.ece

Ballet is a contact sport. If a stress fracture isn't diagnosed and treated promptly, damage to the foot or the injured area may become permanent. Perhaps, (hopefully), it has mended, and she isn't in pain - I mean, beyond the standard discomfort. However, this doesn't excuse the unprofessional and un-kept condition of her shoes for performances. This is her fourth Maryinsky Festival. She represents the Royal Ballet. If she is in pain, I would think that it would be excruciating for her to break in new pairs. So for this reason, and this reason alone, I give her grace, but they do look very bad in a performance.

With "Sleeping Beauty" it was story, to choreography, then music. Petipa fully outlined every scene for Tchaikovsky. Balanchine's

pattern was usually music, then choreography, (and in most cases),

no story. MacMillan usually started with the story, then the music,

and with choreography he began with the pas de deuxs first, then

fleshed out the scenes and Acts. So, it depends on the choreographer.

To maybe complicate this discussion more than clarify it I think about Daria Pavlenko. Here is a performer who I have seen perform with 'greatness' and who I have seen perform with simple human warmth and vulnerabililty. I have seen her latch on to that 'step beyond' to become a 'superhuman' and 'great' performer. I have also seen her trip on the stage and I have seen her try so hard to succeed that my heart reaches out to her all the more.

So what is 'greatness' without human 'soul'. Daria Pavlenko for one seems to moves back and forth between simple humanity and heights of 'great' acheivement. When these two elements come into balance then maybe we are seeing 'real greatness'.

[typo correction made]

Buddy, you didn't complicate the issue. By simply mentioning Daria Pavlenko's name, you've

clarified the issue perfectly, and elevated the discussion.. .

Wow, Obraztsova and Somova are only just second soloists?? The Mariinsky has interesting casting policies, giving coryphees principal roles etc.

In recent years the casting policy has been to bench principals and ranking members in favor of coryphees, at home and on tours, particularly tours to major world cities. Is it wise to give an unproven coryphee unique star status? Is it wise to hang a coryphee's portrait in the opera house canteen? Is it wise to give a coryphee or corps member opening night on tour in "Swan Lake," while consigning excellent, experienced Principals like Lopatkina or Pavlenko to second, third or fourth cast? If the coryphee or corps member is most exceptional, yes, if not, no it isn't. IMO, one such coryphee who qualified as most

exceptional as O/O and Nikiya was Altynai Asylmuratova in Paris during the 1982 tour.

Right now the soloist ranks are top heavy with many talents who should have gone forward but didn't, such as Maya Dumchenko, Elvira Tarasova and Svetlana Ivanova. As for Yevgenya Obratzova, at least she is a 2005 Moscow IBC Gold Medalist, and critically acclaimed internationally. Alina Somova is neither; and her promotion is inexplicable and alarming. IMO this reflects what is the perverse parallel universe that is the Maryinsky today.

Bravo for his writing skill and ability to merge description and personal emotion!

I agree drb. I'm so happy that Macaulay is with the NY Times :huepfen024: .

When he wrote for the Dancing Times I thoroughly enjoyed his

reviews; they were brilliant and sometimes humorous. To me, he's the

British version of Martin Bernheimer . He communicates effectively.

Any dance journalist who is bold enough to call the six fairies in "Beauty,"

" 'Princess Aurora's godmamas,' " is a force to be reckoned with. He produces

English literature when he pens a ballet review. Here's a critic who pulls no punches,

calls it like he sees it, and knows & understands what he's seeing onstage.

Now, for some dancers and artistic directors out there, this means that

the honeymoon is over.

I remember a Royal Ballet performance of "Beauty" I attended

as a teen. There was an infant that screamed during the Overture

well into 1/3 of the Prologue's pas de six - the quietest moments of the

pas de six. Then out of the blue, this basso of a man yelled at the top

of his lungs "GET THAT KID OUTTA HERE!" The echo reverberated

through the house. There were no further interruptions. My guess is

that the parent(s) excused themselves from the performance. I

agree with Dirac. In today's un-civil/P.C. climate, if someone were

bold enough to do that today they would be labeled a child hating monster,

or worse - there'd be an altercation, or a lawsuit.

IMO, Leonid Sarafanov as Solor and Siegfried, and Alina Somova as Odette/Odile & et.al. Unfortunately, both have happened. Mercilessly and inexplicably, both continue to happen.

Sarafanov's ideal emploi would be roles such as Colas, Franz or Nutcracker Prince, joyous

uncomplicated roles. Although he has wonderful technique, he's not a danseur noble. For example, if he had been trained in Copenhagen, he might be in his true element because the Royal Danish repertory is suited to his dance temperament. Specifically, Solor and Siegfried do not suit him.

He is however, an excellent Matteo in Lacotte's revival of "Ondine." And he's definitely a Mercutio.

On the whole, he's too cheerful and boyish for the tragic, brooding roles. And Somova? Her overall "approach" to the major roles she's been granted, is like casting Britney Spears as Pamina in "The Magic Flute."

Thank you so much Natalya for your reviews and insights ! I too have often wondered why Maya has been sidelined. And now it's 12 years since her graduation. I for one am ecstatic that she was included on this tour! I wish I were there! Bravos to both Zhenya Obratzova and Maya Dumchenko !

As far as I can remember, Maya last set foot on American soil during the July 1999 Met engagement. I also recall that she was flawless as Fairy Coulante in the 1890 "Beauty," featured at that time. The fact that we're trying to figure out when she was last showcased here or anywhere outside St. P. is incredible in itself. I truly wish she had been one of the featured Auroras during the Fall 2005 U.S. tour when they brought the Sergeyev "Beauty." That tour needed her Aurora :mellow:. One thing truly puzzles me. You recalled that Dumchenko was considered, "practically the 'equal' " of Vishneva? Practically? IMHO Dumchenko is more than Vishneva's equal; she's superior, particulary in the academic technique department. That's a debate for another thread.

This may be politically incorrect, but I'm going to say it. The fact that Maya still labors in the soloist rank, while younger rhythm-less gymnasts are promoted at the Maryinsky, is mindboggling to me. The fact that the illustrious panel, whose names you listed, were floored by Maya speaks volumes, and amplifies this discrepancy. Not that competition medals or prizes are the be-all or end-all of a successful career; it certainly helps puts one on the radar-screen. But I think that Dumchenko's career chronicle could have, should have been very different than the hand she's been dealt. For better or worse the evaluation panel, past and present is the box office; cash is king. And it's this altar at which the Vazievs worship. And if that means fielding expressionless youngsters that favor 6 o'clock extensions over true St. Petersburg classicism and artistry, so be it.

IMO this 'policy' is probably one of, if not, the primary reason why certain "name" dancers with elastic-girl capabilities, have been promoted over dancers like Maya - and dancers such as Tarasova and Zhelonkina, (both of whom are still soloists). Even Pavlenko, (who is employed as little as possible - even as the youngest female Principal Dancer), has to wait for long intervals, in some cases years to revisit a role. An example of this, would be her most recent St. Petersburg "Giselle" in September 2006: Only her second performance of this role at home on the Maryinsky stage on Sept. 22, and her sixth in her 11 year career). Six performances in 11 years; two at home - the first being her debut in 2001, and the second - 5 years later. That's inexplicable.

There are a few others of like gifts and temperament, who like the above, are fighting like generals without an army just for one opportunity to take center stage at home and on prestigious tours. Opportunities that rarely come, if ever. Apparently, in the Maryinsky Ballet of 2007 if one doesn't have the support of Management, while certain trendy "aesthetic" values are promoted over traditional values, your career will be stifled. The $1 Billion Question is what is now considered traditional in the Maryinsky - and what does this mean for it's future? That's a topic for another thread too.

I totally agree with Leonid's and others' like assessment of Sveta Zakharova. Say what you will about her, she is a maverick and an original. Right now at the Bolshoi she has major competition with

the advent of ballerinas such as Natalya Osipova, the two Katyas - Ekaterina Shipulina and Ekaterina Krysanova, and the two Mashas - Maria Allash and Maria Alexandrova. IMO artistically and technically,

she doesn't compare with these ladies. She can no longer rely solely on her limb "pyrotechnics."

Also, Zakharova seems to have left an indelible mark on the most recent harvests of the Vaganova Ballet Academy. At the Maryinsky, the hyper-extension/zero artistic expression "cult" is now being promoted and perpetuated. An example of this fact is the promotion of individuals such as Alina Somova - who is an entirely different story altogether.

If anyone wants to sample Maestro Inc.'s ballet tempi, good "examples"

are his complete "Nutcracker" and "Sleeping Beauty," both on Phillips.

His complete "Nutcracker" on one CD (?) must be in the Guinness Book

of World Records for it's NASCAR speeds. Strictly MO.

"I do not recall having ever heard these 'Drigo' pieces performed by companies other than the Mariinsky–though they may have."

Hi WindFlyer! Drigo's arrangement is also used for Dowell's production for the Royal at Covent Garden.

After the overture and intro, the pas de trois is danced before the waltz.

The Ottawa Sun has made a major mistake. For the opening night "Swan Lake" October 26, Pavlenko's dress rehearsal photo was printed with Somova's review . The journalist went on to say that Somova was "absolutely exquisite." (?!) - MO.

http://jam.canoe.ca/Theatre/Reviews/S/Swan...28/2155189.html

My deepest sympathies go out to Ms. Pavlenko.

Dancers must be properly credited, and for the Maryinsky's first Canadian visit in nearly 20 years, and for an opening night, there is no excuse for this photo mix-up. Also, does the author know her steps and ballet terms? She states the following:

" . . . But when it comes to male dancers, Adrei Ivanov stole most of the scenes he was in as the impish, athletic court jester, at one point tossing out a jaw-dropping number of plies."

Plies? No, not for the Jester in the Sergeyev "Swan Lake."

Furthermore, the author states that Somova is a "prima ballerina."

Somova is a officially still a coryphee - that means, a .5 inch away from

the corps de ballet. She's been "promoted" - to the public that is, for

this tour. Hopefully, the Ottawa Sun will respond to any retraction requests.

Onward to Chicago :mellow:

Yes: Cellphones that are not "off" or on "vibrate," finicky small children, and talking patrons is annoying!

THE MUSIC CORNER

I forgot to mention, at Uliana's performance Oct 20 the music values were a little below par IMO.

Conductor Pavel Bubelnikov almost looks like a double for the old maestro Tchaikovsky himself. He wore (the 'sometimes' Valery Gergiev Look), black silk pyjamas. (?) I'm sorry, but I'm a traditionalist: What's wrong with white tie and cutaway black tails?

Bubelnikov reasonably aquitted the MT Orchestra of the score, despite the almost (IMO) non-existent acoustics in Segerstrom Hall. But on Friday night the brass section played notes that Tchaikovsky didn't write , in various places, with incidents elegantly spaced across all the acts. In the woodwind section, one clarinet in particular had some profound difficulties. Never, never, never under the late Victor Fedotov.

One commentator in Petersburg on another site confirmed this when I inquired about it. She told me that this always occurs under Bubelnikov when he conducts Swan Lake at home, and no other staff conductor in the Maryinsky. Fortunately, Uliana and Co. were unfazed by this.

I saw Uliana's O/O for the first time last night. Fonteyn said this

about first seeing Ulanova as Juliet when the Bolshoi first came

to London:

"I am so dazzled, so dazed. I cannot describe it. I cannot describe it.

I had no idea, no conception of her. I tell you, I cannot describe it.

What? No. I didn't watch her technique: One does not watch technique

when one watches Ulanova."

Insert 'Lopatkina' at the end of that sentence for me. That is how I

felt watching Uliana for the first time.

IMO: The Maryinsky Theatre has TWO great O/Os: Uliana Lopatkina and Daria Pavlenko. Both equally magnificent, both totally divergent in their approach to the role. IMHO in this company, in this generation, in this role, no one can touch them.

ULIANA'S PORT DE BRAS, HER ARMS, HER HANDS

So her, and so exemplary. She was herself - she was not phony or

mannered, she was real. To quote Sir Anton Dolin (on Chauvire's

Giselle) "What she did onstage (last night) was real: There was

no camouflage and there were no tricks."

ULIANA'S FEET

Quite simply, good old fashioned perfection. The bourrees were crisp,

like pearls and fluttering.

THE "AH" MOMENT

Her first entrance as Odette. As with Pavlenko, I was SPELLBOUND

from that very second. Her Odile - for her numero uno rendition. She's herself. Here she was muted seduction personified, from the Asylmuratova School of Odiles. No bombast here - thank you! NO - not a technical whiz-bang like Pavlenko here, but yes, Uliana does what she knows she can do and that is a wise ballerina. Uliana: Muted seductress and contrast, Daria: Earthy seductress and contrast. I LOVE THEM BOTH!!!

THE LAST ACT: Total belief, total commitment, total satisfaction!

I love it! The major difference between Uliana and Dasha at the very

end: Uliana looks down at Rothbart, like she's trying to digest that

he's really dead. Daria looks at her arms and hands and smiles

with the realization that she's human again.

STANDING OVATION LAST NIGHT 6+ MINUTES. A heavenly evening!

I am so excited! My ticket for Uliana's Oct 20 O/O at the O.C. Perf. Arts Center has arrived! I've seen Pavlenko and she's absolutely awesome! I've never seen Uliana and I want to compare two great ballerinas in the same role!

Some trivia: This will be the first time since 1986 that the Maryinsky will bring the Sergeyev "Swan Lake" back to L.A. They brought Vinogradov's re-dux in 1992 and it was, well . . . it was. That's the most diplomatic way I can describe that production. And yes, I agree: By all means avoid A. Somova.

Clement Crisp.

Whoa does this mean Merkuriev has left the MT and Shipelevsky the Berlin Ballet?

Hi Canbelto! I don't know about Shipelevsky, but Merkuriev is in the Bolshoi now.