Cygnet

There's Dmitri Semionov (formerly of the Maryinsky), and sister Polina Semionova of Berlin Opera Ballet.

I'm sorry I'm late to this thread! My favorites are: Branagh's "Henry V," (any Shakespeare film with both Ian Holm and Dame Judi Dench in the cast is worth the price of admission). Helena Bonham Carter's Olivia, and Imogen Stubb's Viola in Trevor Nunn's "Twelfth Night." Mel Gibson's "Hamlet" (with Glenn Close as his mom). -Kate Winslet's thoroughly depressed Ophelia in Branagh's "Hamlet" -Branagh's Iago in "Othello." Someone else mentioned earlier that he saved the day - I totally agree with that. -Kevin Kline's genius rendition of Bottom in Hoffman's "A Midsummer Night's Dream." -"Best Mumbling in a Shakespearean Role:" Rupert Everett's Oberon in the same film. - Olivia Hussey & Leonard Whiting's "Romeo & Juliet" is still the gold standard for me. -Liz Taylor and Richard Burton in Zeferelli's "THE TAMING OF THE SHREW." That was real - they weren't acting. - I totally agree: Polanski's "Macbeth" was a tour de force for Francesca Annis. -Sir Anthony Hopkins in the title role of Julie Taymor's "Titus" (The final scene with Hopkins dressed as the sous chef was priceless). -Jessica Lang's merciless Empress Tamora (also in "Titus") -Al Pacino's brilliant Shylock in "The Merchant of Venice." The battle for the worst? IMO Leonardo Di Caprio and Alec Baldwin. They tie for first for their performances in Lurhmann's R&J (Di Caprio), and Baldwin as the Duke of Clarence in Al Pacino's "Looking For Richard," (Richard III documentary 1996).

A live Maryinsky Theatre "Giselle," with Pavlenko & Kolb would be an excellent idea . Pavlenko is on site and available in St. Petersburg. Based on Vishneva's website schedule, as well as certain recent statements she has made to the Russian press, IMO, it would be incredible if she were to hang a U-turn and go back to her original HQ just to film "Giselle." If she ever does a canned "Giselle," my guess is that either ABT or Berlin would do the honors.

Hi NYSusan! Thank you for your review. I'm so glad to here that Tereshkina was wonderful as Myrtha! That's a fair assessment. But, remember: You're looking at ABT's production as opposed to the Maryinsky's production - which the latter, IMO, is more authentic and detailed in it's concept, logistics and execution. Also, the Pavlenko/Kolb pairing is obviously VERY VERY different from the Vishneva/Malakhov pairing. Having seen both ballerinas, IMO Vishneva's approach vs. Pavlenko's approach is like comparing a Vodka Gimlet to a bottle of Chateux Margaux.

She's been a professional since 2003. Yes, she graduated Vaganova Academy. I've seen her Corsaire ppd, and her Paquita (variation #1) as well as other roles. For me, the main problem I have with her is that her style and technique of execution is an aberration and deviation from the established and familiar Vaganova style. The foundation of the Maryinsky's repertory is Petipa. Her 'in your face' execution of the steps, and lack of characterization of the old warhorse roles, do not conform to the grace, precision and delicacy that is the basis of Petipa's choreography. For example, she constantly whacks the side of ear when she performs developpes. Her sense timing is erratic and un-musical. I think that she would do very well if coached intensely in Forsythe or some Balanchine, but Petipa is not for her, particularly Odette/Odile and the academicism of Aurora. Basically, Somova is an acquired taste. You either like her, or you don't. Now, to be fair, and giving her the benefit of the doubt, how she is coached is not her fault. Madame Olga Tchyentchikova (Vazieva) is her coach and benefactor. It's her primary responsibility to correct her pupil. According to reports, on site in St. P and wherever she has appeared abroad, there has been no change in her interpretations, nor has she improved upon them. Yes she is young, and there is still time for her to do a U-turn on the road she's on, but personally, I wouldn't recommend her, nor would I pay to see her again. .

I'll co-sign that Mashinka!

The late Maria Bjornson, designer of Andrew Lloyd Webber's "Phantom of the Opera." I agree about the traditional approach. Although everything followed the standard text, her scenery and costumes weren't successful for me. It gave the illusion of looking up through a man-hole (?) and distorted everyone's line. Also, I had never seen Catalabutte in high heels until that production. I'm so happy the Royal has returned to the Messel designs!

Since this is multiple choice, I predict the management will pick the London/Paris lineup - in the same order.

IMO, the Boston casting is, to put it mildly, very disturbing. I think it's interesting that Mlles. Somova, Gumerova and Vostrotina are all in Madame Vazieva's stable of proteges - and that crew is below standard. Obviously, there's some lofty strategic plan going on with the casting policies; and what that is exactly, I can't put my finger on. I've given up trying to figure it out. If this holds, the only P.D. cast as Odette/Odile will be Lopatkina. IMO, this is no way to treat international audiences. If I book for the East it will be the Royal at Kennedy.

I'd say that Dmitri Semionov is prime danseur noble material, but no one is noticing it.

Well, this is GREAT news IF: 1) The maestro actually doesn't conduct the performance. IMHO, with the exception of the complete Prokofiev "Romeo & Juliet," (Phillips), he's not a ballet conductor. I site his complete Phillips "Nutcracker" and "Sleeping Beauty," as prime examples of his ballet tempi. On the Maryinsky website, he hasn't been listed as conductor for any ballets: The Russian (and) other opera repertory and symphonies yes, but no ballets. If he's conducting this "Swan Lake," it will be the fastest musical interpretation ever. 2) Certain youngsters are NOT cast as Odette/Odile and Siegfried. Reportedly, apart from Lopatkina's and Vishneva's recent performances this season, (both received two performances), the people that have been cast have been either woefully unsuited, and/or technically and artistically unprepared to shoulder the responsibility. So, I hope the tape is a "canned" performance, with either Lopatkina, Vishneva or Pavlenko as Odette/Odile.

All I can say is WOW!! Thank you, thank you, thank you Natalya for the detailed play by play!!! Congratulations to Alina Cojocaru, Dasha Pavlenko (welcome back!), and the entire company!!!! WELL DONE!!!!

ZHANNA IS BACK?!! HALLELUJAH!!

Hi Canbelto! Look for the kid with the very long, thick dark hair joining in the folkdance with the other guests. That's Altynai. Veronika Ivanova is no longer listed on the roster. She was a principal dancer in the very early 1990s under Vinogradov. Makhalina and Lopatkina were both starting out at that time as soloists, so maybe she was unable to compete with their advent. She didn't survive into Vaziev's regime. Does anyone know if she's on the faculty at V. Academy?

Hi Solor! The boy's name was Alec Tomishin. There's also a quick snippet of footage of Altynai in class with the late Zubhovskaya. In the film, Mme. Zubhovksaya seemed so open and approachable outside class. She seemed like a second mama to her students. I especially like the segment, when she invited Altynai, Elena, Angelina and other students to her home for tea. Vorontsova was an excellent corps member. I don't know if she advanced as far as say, 1st soloist rank, but she had wonderful technique. Her Coulante in Kolpakova's "Beauty" DVD was faultless. In addition to teaching at V. Academy, she's also listed on the roster as one of the company's repititeurs; however, the website may not be up to date on this.

I'm rooting for Maria Abashova. She was a marvelous Anna Karenina.

Hi Bluenightdipper! Forgive me if I'm a 'budinsky' in this excellent thread. The U.S. does (did) have the Dance Theatre of Harlem. It also has the Alvin Ailey Dance Co. (which is predominantly Black but a modern dance company). DTH's ballet school is still open (last I heard), but the company has suffered financial distress in recent years, and has had to cease and desist performances. Here in Los Angeles, there is the Debbie Allen Dance School as well as the Lula Washington Dance Theatre, which are avidly supported by the Black community. Also, on a different note, opera is supported as well. Socio-economic status is a big factor in what young Blacks pursue, and on how the community's families spend their discretionary funds. But we will make time for, and spend money on those companies which celebrate and uplift our culture and experience. IMO the hip-hop 'culture' does NOT do that, but ethnic and modern dance, jazz, and yes, ballet does! I think the real issues are exposure, access and awareness on both sides. Once performing arts centers and opera houses are aware of interest, they will market to that community. For example, this past Christmas, an organization I'm a member of has a sub-committee called "Live Theatre for Children." We escorted Los Angeles inner-city children (ie. Black and Latino), to their first live theatre experience: "The Nutcracker." Once the Long Beach Ballet found out that the children were from South Central L.A., they donated the tickets gratis. It was a multi-racial cast and ballet company. I think that it meant ALOT for these kids to see other kids and professionals onstage who looked just like them . They wouldn't have known they have the option, if they didn't see that it was possible. I think that's what the arts are all about - infinite possibilities .

Hi Cabro! I thought Johnny came off much better in the interview immediately following his short program. IMO the pre-skate montage really didn't do a thing for him. I thought to myself 'what a brat.' However, he won me over with his grace: He skated beautifully! Personally I think he has much better line and body proportion than Plushenko. Technically, Plushenko may have the edge, but Johnny has nerve, grit and something that Plushenko didn't display much of - grace! That's surprising because he's from St. Petersburg for goodness sake. Well, stranger things have happened. Remember Baiul and Kerrigan, and the girl (whose name escapes me) who upset the field in 2002 at Salt Lake City? I think it's going to come down to quads, artistry and grace. If Johnny nails it on Thursday, it will be very close.

For me, The Back was Asylmuratova's in "La Bayadere."

Right now, the Maryinsky is practically a nursery. The most recent that I know of: Maya Dumchenko and Zhanna Ayupova. Pending: Natalia Sologub, (don't know if she's delivered yet), and Irina Zhelonkina (ditto). Hi Helene! I'd say yes: In the great national companies of Europe, ie. POB, the Bolshoi, Royal, DNB, RDB, RSB, Kirov et.al., family leave benefits are very generous - it's almost like having a civil service job. Hi Cabro! Yes you're right - Zhanna had her first child very early, during her corps/coryphee time.

I certainly hope Alina's casting stays valid too! She'd be absolutely wonderful in the 1890! As for the "bait and switch" tactics, I pray that doesn't happen. If they feel they must, my wish would be for Zhenya Obratzova: If anyone is Aurora ready it's certainly her. . . But, then again, I just can't help thinking they may slip someone like Somova in at the last minute.

Several years ago, (before it wasn't PC), Fonteyn and Nureyev did a spread in Vogue for Blackglama furs. That was a priceless photo spread.

Hi Canbelto! With the exception of Amosova (who despite her age, stylistically should be on List #2), here are some others who should also be on List #1 - namely Pavlenko, Tarasova & Dumchenko. List #1 represents a group of ballerinas whose academicism and attention to detailed artistry, rather than rhythmic gymnastics is contrary to, or out of favor with what's popular there today. List #2, with the exception of Lopatkina, Obratzova and Novikova, (it's still too early to tell with her yet), currently represents the image of what has evolved into The 21st Century Kirov Ballerina. It's ironic that Makhalina was the prototype for the remaining names on List #2 . . . Veronika Ivanova - yes, where is she? She's no longer on the roster and she's still in her prime. You're right, though. Now, it seems that '30 Something' is to the Maryinsky, what '40' is to POB . Apparently, if you don't have The Coach, the clout, the clacques, the youth, the favor, or The Favored Style, it's extremely hard to get a performance.

Natalya Makarova & Altynai Asylmuratova

Marc, they're magnificent! WELL DONE!