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).

It would seem like NOW would be the time for the MT to film a Giselle either with Pavlenko or Vishneva. It would be a nice replacement for the Mezentseva/Zaklinsky film, which IMO is marred by an extremely miscast Mezentseva. I watch that film chiefly for the curtain calls which are hilarious.

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.

The production - There are some things I like very much about this production, other things I prefer the ABT way (that’s the only other production I’m particularly familiar with). Most notably, Myrtha’s role is MUCH better in this production, it’s a much bigger role and Tereshkina danced it divinely at all 3 performances so far. I don’t know where to start describing her – the beautiful romantic epaulment, the soaring leaps, the long, articulate feet. And what a contrast in style from ABT’s approach, where Myrtha tends to be danced in a hard, brittle fashion. Tereshkina had the most gorgeous romantic flow to her movement, and especially her opening solo was tinged with sadness & regret. Yet she commanded both the stage and the Wilis unquestionably. I will never forget it.

Hi NYSusan! Thank you for your review. I'm so glad to here that Tereshkina was wonderful as Myrtha!

The principals –

Pavlenko and Kolb were very, very good but not great IMO. Perhaps it was too much to ask coming a day after I’d just seen a great Vishneva/Malakhov performance, or maybe it was because I didn’t love Kolb and Pavlenko might have been just a tad off her game. Her technique was awesome, her characterization fine but it just didn’t all come together for me. I’m not giving up on her yet, though. The first time I saw her in Swan Lake after a very good opening night performance she completely blew me away with one of the greatest Swan Lakes I’d ever seen at the Sunday matinee, so I’m reserving any further comments till after tomorrow’s performance!

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.

Why is Alina Somova so hated? She is not such a bad ballerina, and anyway she is still quite young. Give her a chance and she could become a better ballerina .

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 fervently hope a retirement into happy domesticity awaits her.

I'll co-sign that Mashinka!

Although I really liked the other ultra-modern "Sleeping Beauty" production that was dropped (I forgot the designer's name - the one that was filmed w/ Durante and Solymosi) the more traditional approach is always the best way to go!!!!!!

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!

Indeed, we are still guessing but those were the Odette/Odiles in recent London & Paris tours. Maybe Boston & Chicago will top London & Paris?

Maybe the Kirov will shock us and present the worthiest-possible lineup: Lopatkina, Vishneva & Pavlenko alternating evenings; Tereshkina at a matinee. That's it - that's all. Who wants to place bets on that happening? Going once - going twice?

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

Lopatkina perhaps, for the opening night. After that, don't be surprised to see Somova, Gumerova, another Somova, then Vostrotina, and finally a third Somova. The usual pattern.

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!!!!

I'm overjoyed to see that Zhanna Ayupova is participating in the Makarova Gala--March 26, the closing night of the VI Intern'l Ballet Festival at the Mariinsky. What a treat.

Sixteen participants, including Makarova, are now listed on the Mariinsky website.

ZHANNA IS BACK?!! HALLELUJAH!!

Altnyai graduated from the class of Prof. Inna Zubkovskaya so it makes sense that there's some brief footage of her. I don;t remember seeing her at the tea party though ...

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.

Does the US have an all black dance company? We have an all aboriginal dance company here in Australia and from what I have heard and read they are highly talented, skilled and yes elite dancers. Like I mentioned in the Australian Ballet forum, trying to see the aboriginal company is just as difficult as it is to see the Australian Ballet if you don't live in Sydney, Melbourne, Brisbane or Canberra.

I'd better get back on track for this forum, Perhaps Ballet is elitist, but then is it really so bad? We all like to be part of something special that reflects our cultural and artistic heritage. Be it black, white, asian, whatever. It is a shame I think when we can't accept that each race/religion will have it's own elite form of dance, music, communication. Perhaps we should be celebrating this elitisim, for each race, because isn't that what the philosophy of multi-culturalism is all about, not a common denominator?

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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 .

Johnny Weir was the one who skated to The Swan.  I thought the moves -- bravura though the were (and had to be) -- suited the music very well.  The choreography was deftly assembled.  As a program, it was superior to Plushenko's which was simplistic and repetitive between the elements and, as canbelto notes, had nothing to do with the music.

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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.

Bits of information on the rest of the festival -

The Sleeping Beauty of March 19 will be the 4hr-15min 'new-old' 1890 version, which will be a special treat. I truly hope that Alina Cojocaru gets to enjoy this experience amidst the 'original' designs, on the very stage where the great work was premiered. Past festivals have played some 'bait-and-switch' -- marketed foreign stars substituted at last moment with local novices -- but I'm banking on Cojocaru really showing up, as she is an established favorite of this festival.

March 20 will be 'dark' but March 21 will be devoted to the premiere of three avant-garde works, including one by Forsythe associate, Noah D. Gelber, who was instrumental in staging last year's Forsythe Quadruple Bill. The three ballets to be premiered are:

* Le Bourgeois Gentilhomme (chor. Dmitrievsky/mus. R. Strauss)

* The Overcoat (chor. Gelber/mus. Shostakovich)

* Du Cote de chez Swan (chor. Mironischenko/mus. Desiatnikov)

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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.

I'm browsing the Mariinsky website, and I see these beautiful looking dancers, who joined the Mariinsky in the Vinogradov era, and I was wondering do they ever dance anymore?

- Yulia Makhalina

- Zhanna Ayupova

- Tatiana Amosova (actually, I saw her as the Lilac Fairy on the Detroit tour, but have heard that she rarely dances)

- Irina Zhelonkina (what a beauty!)

- Veronika Ivanova (who I've had a soft spot for ever since I saw her get terrorized by Natalia Dudinskaya in Backstage at the Kirov)

It seems as if nowadays the Mariinsky's main dancers are Vishneva, Lopatkina, and rising starts like Obratsova, Bolshakova, Tereshkina, Somova, Novikova ...

So do these 'older' dancers ever dance anymore?

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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.

. . . When I think of dancing singing, I think of a dancer filling up every last note of the music.

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Natalya Makarova & Altynai Asylmuratova

Marc, they're magnificent! WELL DONE!