Cygnet

I've found one reaction on ballet.co.uk in the 'Kirov Talk' section. Scroll down to '2005/06 Season - Maryinsky Theatre.'

BalletNut - buy the tickets! Farce, like history needs witnesses! Did a miracle take place over the summer that we don't know about :mellow:? (Personally, I'd pass on Somova. Pardon my French, (d----- to h---): Per her reputation, IMO if she couldn't handle O/O or Nikiya in Act 3 of Bayadere, there's a very strong possibility that she can't handle Aurora either).

Per Berkeley's website, Diana and Uliana are getting two evening performances in the same cast: Opening night and another night. Re casting for Aurora and Lilac, my educated guess for L.A. (and the entire Fall tour), would be the same rotation as Berkeley.

Hi Hans! Search 'Altynai Asylmuratova,' then click to page 3 and the "Backstage at the Kirov" thread .

I'd say Uliana is the de jure PB of the MT; Diana is her de facto counterpart.

I'll co-sign on all of the above!! For me Altynai will always be "The IT ( ) Prima Ballerina." Unlike many of today's young Maryinsky generation, who are being pushed to the front, in most cases too soon in recent years, she was already fully formed. Out of school, she was already a diamond; and Moiseyeva her coach cut her into a flawless gem. She served 5 years in the corps de ballet under the AD Vinogradov. There she really learned her craft. . . Furthermore, unlike some of the young M generation today, Altynai was very humble and unaffected. Even her bows and curtain calls were tasteful and modest - totally devoid of exhibitionism. As a M ballerina she wasn't a diva, although she had every right to behave like one. Moreover, unlike some of the M (and Bolshoi) stars today, she was imminently quotable in print. She was a charming and effective communicator. Fonteyn was said to have had this same gift. The younger M generation today would greatly benefit from her example. In Bayadere and all of the repertory she was incomparable. In Acts 1 & 2 her arms, back and acting were awesome. She was India. In the Act 3 ppd she executed the six consecutive lifts like no one else. Her Shade was a floating mist - totally weightless. She was an angry Shade, and this enhanced the continuity of the story. Even if her Solor was having an off night, she could by sheer will inspire him to turn in a decent performance. She was the kind of ballerina who could bring out the best in her partners and the corps. In everything she did, she made it all make sense, and made it all look fabulous. Also, her live O/O was a yardstick of artistry. Thank God I saw her live in both ballets! Unfortunately, her dance record on film is unjustifiably sparse. For some inexplicable reason many of her countrymen conferred the benediction on her career that she 'never reached her full potential.' ? IMO with the exception of her peer Terekhova, she was superior among the M colleagues of her generation in sheer artistry and dance maturity. Internationally she was acclaimed as the living exponent of St. Petersburg classicism. During the early- mid 90s, the careers of ballerinas such as Makhalina & Lopatkina were vigorously promoted over her's (and others) during the final years of Vinogradov's regime. At the end of her career, she got 3rd & 4th cast matinee performances in favor of the new AD Vaziev's protegees. She was 4th cast Aurora in the revival of the new/old Sleeping Beauty. To compensate for this treatment, she guested extensively outside of Russia to great acclaim until she accepted the post of AD of V Academy. She went out quietly at the MT with a final performance of R & J in January 2000. I just go nuts when I think about her dancing. IMO her Nikiya, O/O - etc., are just like the fact that Sean Connery will always be James Bond and no one else, you know?

Maya Plisetskaya (on tape) (Live) Altynai Asylmuratova Daria Pavlenko Olga Thyentchikova Natalia Makarova Cynthia Gregory Dame Merle Park

I totally agree with you. IMO she was miscast as Raymonda. If you look at exerpts of Kolpakova, Plisetskaya, Dudinskaya or Semenyaka's complete performance, there's no comparison. By Act 3 she was flagging. The Act 3 solo was particularly weak. In the prep for the last diagonal she, the pianist and the conductor were not in sync. The effect and result was . Taranda was excellent in both DVDs.

Hi Richard, Solor & Helene! I apologize for my late reply; I was on vacation. I found the link! Stupnikov's article is "Russian Terpsichore's Soulful Flight - St. Petersburg's Ballet Life 1999." That was a rough surf; this is an obscure link. http://www.theatre.spb.ru:8100/seasons/1_1...lish/russian%20 terpsichore.htm Stupnikov summarizes the 1998/99 MT season. IMO he gave the premier lukewarm praise. Dudinskaya's 'absence' is on p.6, second paragraph. Richard, now that I've read it again, I find that Igor was engaging in doublespeak too. I'm firm that it was inappropriate to mention at all. He asks 'what do (we) do with both of these productions?' like we don't need two. Then he says in the next sentence (oh, BTW) that" . . she (Sergeyev's widow) wasn't there sic." Inference: She wasn't there (for whatever reason). That's it; game over - we know which one to support. Now that's an ambush. So, it seems he was firmly in the Sergeyev camp, but on the 'fence' in print. The 15 page article also contains other things, such as IMO, the astonishingly immature and unquotable statements of some of the young stars at that time.

Hi Solor, I read and saved critic Igor Stupnikov's column 'Letters from St. Petersburg' where he gave an eyewitness account from the premier. I can't remember at the moment the precise address of the link. I'll have to blow the dust off my papers to find it ! It can be Googled though. I do recall his sanguine review of opening night and the subsequent casts of the following nights. He noted that she was conspicuously absent during the run. The manner in which he phrased his comments re her absence implied that she was offended. Maybe, maybe not. Personally, I don't think he should have mentioned it at all. Bottom line is he noted (and stated that others in the MT), noted that she wasn't there, however inappropriate that may have been at the time. My take is that Igor must have been in the Sergeyev camp. Scholl also got (I'd say) rather pointed quotes from Dudinskaya herself on the matter, ("SB A Legend In Progress"). Perhaps Igor should have done the same?

Hi Solor, I did say IMO . -She is the de facto PB Assoluta of the MT; as such she has influence. -She's a, if not the major cultural icon in Russia. -This production is the version of her beloved teacher's (Dudinskaya) husband. Who, buy the way didn't attend the premiere of the new/old version in 1999 out of respect for her husband. -UL has gone on record that she dislikes the reconstructions as have many of her colleagues. -If they took a company vote between the two productions, I believe they'd vote for S' version everytime. - If she's listed on tour and if they bring SB - it's going to be the Sergeyev. - She only dances Sergeyev's Lilac. -St. Pete's audience reveres her for respecting his and her teacher's memory by not dancing, and (thereby 'validating') the new/old version(s). Her non-participation in the retro versions has some impact on issues such as touring rep, (at least as far as SB is concerned), and legitimacy with her audience - as they perceive it. Also, like your statement about Asylmuratova, alot of the MT dancers hate the retro versions because they are different from what they learned, and grew up with. (To them), these productions suggest that everything they learned was false. The huge financial and physical logistics of the new/old production have already been covered .

Solor, that is a good question. The MT is bringing the Sergeyev to three US cities this fall. Why? I guess there is some reason, but it sure will keep me from traveling from the East Coast to CA or Detroit. indeed! Richard <{POST_SNAPBACK}> This is strictly MO. Richard, Solor I rank in order the two main reasons why they're bringing the Sergeyev: 1. Uliana Lopatkina 2. Economics

According to the MT website, the opening night Swan Lake of '05-'06 will go to Vishneva, Sept 21. Thalictum, you were right! If there are no changes, it will be her debut as O/O at home. No doubt, her's will be a very singular interpretation. Sergueyev's production is a different reading than ABT, Berlin or Tokyo, and doesn't hit the tragic note at the end. Any predictions?

I'm gonna cheat: LA BAYADERE - Nikiya & Gamzatti's confrontation in Act 1, Nikiya's Act 2 monologue, the entrance of the shades, the Act 3 pdd, and Nikiya's final diagonal SWAN LAKE - Odile's Act 2 variation (Drigo), Drigo's Act 3, Act 1 Polonaise, Act 2 Czardas, Spanish Dance, Cygnets & Coda Act 1 Scene 2 SLEEPING BEAUTY - Where do I begin? Everything's a masterpiece! Aurora's Act 2 variation, Panorama, Rose Adagio, Prologue March, pas de six, Bluebirds, Canari, Act 3 March, Apotheose, and all things Lilac Fairy, especially the end of Act 1 NUTCRACKER - Act 2 Pdd ONEGIN - Act 1 letter Pdd MANON - Manon's Act 2 variation RAYMONDA - Clemence's Act 1 variation, all of Act 3 COPPELIA - Swanilda's Act 3 variation PROKOFIEV - Mistress' waltz & coda Act 1 from STONE FLOWER, R&J - all of Act 1, Cinderella's Act 2 variation & Winter's Act 1 variation, Anastasia's first monologue fom IVAN THE TERRIBLE Act 1 All of THEME & VARIATIONS All of SERENADE All of DIAMONDS 5th variation from PAQUITA (sounds almost like Sugar Plum) FIREBIRD's finale

Vorontsova was a great corps member. As far as know, she didn't advance to Principal. She danced a technically perfect Prologue second fairy in the Sleeping Beauty DVD (Kolpakova/Berezhnoi). She's also seen as one of the cygnets in 'Backstage at the Kirov.' Others who were excellent corps members were, Tamara Mirzhoyan, Natalya Pavlova and for the short time she was in the corps, Lezhnina. I wonder, with new preferences at the Maryinsky if they would accept them today. In another tape, (I can't remember if its 'Leningrad Legend' or 'Backstage at the Kirov,' Ivanova is shown as a 6th year student with Dudinskaya her teacher. Ivanova was very shy and quiet. She seemed embarrased to be singled out by her teacher for the segment. Dudinskaya was very patient with her, never raising her voice, always encouraging her to try again. That was very nice.

Apologies - off topic Hi NYSusan ! Sorry for my late reply. The Standard is in the same general area as the Westin, Biltmore & Marriott. The S is on Flower at 6th St. From the S it's a long hike northeast to the Music Center. The Biltmore is .5 miles south of the MC on Grand Ave., but its off of 6th; this is further away. By contrast, the W & M on 3rd St. are closer than the B, but have indirect routes. The walk from the Biltmore to the MC is easiest - just walk north straight up Grand Ave to the Center. The MC is northeast of the S, W & M. Depending where you decide to stay, the general distance b/w the S, W & M, (northeast to the MC), is approx the same. Grand Ave. becomes a steep incline as you head north ala San Francisco. Also, be careful crossing the streets at night: L.A. streets are wide, and unlike N.Y. its not just a hop, skip and jump to the other side. I hope this helps. YES, in L.A. there are huge neighborhood extremes - even within 2 - 3 blocks. Rule of thumb re Downtown: Everything east of Hill St. and Broadway is like that old Mel Gibson film 'Mad Max.'

Hi NYSusan! As a native Angeleno, I would counsel you not to stay at the hotels you mentioned precisely for the safety issue. The Hill and Flower St. areas of downtown L.A. are rather unsavory - in fact everything east of the Music Center / Disney Concert Hall area is. I wouldn't drive in that area at night, let alone walk. Travelocity may be able to give you some really competitive rates at the Marriott, the Omni, The Milleneum Biltmore, Westin Bonaventure - all of which are approx. the same distance to the Music Center by foot or car, as is the Kawada. The foot traffic from the Music Center would have more people, and you would be less likely to be accosted. In answer to your second question, YES - a lot of people ride the Metro in L.A., the problem is its not city or countywide as New York's subway system. Pity!

Amen to that! I'd love to see him as SPARTACUS!

Odd preference. Having seen Zelensky dance last Saturday I have to report that he eliminated just about all the lifts from La Bayadere. If he does the same in Beauty, the effect will be rather strange to say the least. <{POST_SNAPBACK}> He's being cautious because of his back. He danced Bayadere with Uliana, right? When the music surged, I can't imagine how that looked. Mashinka, what did they do to substitute? We know SB Act 2 & 3 pdds have lots of lifts. I hope he's physically able and confident enough to do them in October. It 's not worth it to aggravate a serious injury like that.

Hi Joseph! There are no 'stupid' questions :blush:! The Panorama is a rolling canvas of the forest set to that beautiful music of the same name. There's a stationary boat, containing the Lilac Fairy, (in the new/old production - cherubs) and the Prince. The boat 'sails' down a 'river' to Aurora's palace. When the Panorama music is over, the canvas stops. So, the conductor and the machine must be in sync . In the Bolshoi production the boat sails and flies !

I'll be seeing them when they come to L.A. too. I'd be surprised if they bring the boat & panorama for Act 2. When they tour the Sergeyev version they usually don't. The Dorothy Chandler Pavillion is really too small to hold the 1890 production, even with a minimal cast. In fact, I don't think there's a stage in L.A. that could hold it. If they ever bring it, the largest venue that might be able to hold it would be the OC Center for the Perf. Arts. Petersburgers adore this version, and most of the Kirov dancers and the Vaganova teachers. The Russians loathed the new/old revival and revere Sergeyev's version as holy - authentic Petipa. If you have it, check out Tim Scholl's book. My main concern will be the casting and the level of dancing of the principal casts. I never worry about the corps.

I picked SB because its superior to the other two. As far as ballet music goes, its the score of scores. Every time I listen to it, I know there is a God. Yet, each his ballets are peerless. SB, SL & Nutcracker are, like all of Mozart's operas, stand alone masterpieces. Like Mozart, each ballet is totally unique & the musical ideas are totally different, yet written by the same man. Therein lies the genius of both composers. SL is the ultimate in lyricism. In 1877, SL was a major breakthrough for ballet music, because this was arguably the first ballet score that could stand alone in the concert hall. It was music that was symphonic and on a par with the opera. IMO it's probably the most Wagnerian work he ever wrote. In SB he created a complete fairy tale kingdom, royalty, fairydom, tradition, pomp & circumstance. At the end of the Apotheose, you can almost see the storybook closing. With Nutcracker he takes you to that place of virtue and innocence, that's rare today.

Thanks Natalia for fixing my post! The Battle of the Bayaderes should be very interesting.

p.s. "La Bayadere" 7/28 Eve - Dasha & Sarafanov -( ?? :mellow: well, they've stuck it to her again) [Edited to highlight what Cygnet added to her original message, directly above. - Natalia]

FYI: Latest cast change alert! "La Bayadere" 7/28 Eve - Dasha & Sarafanov -( ?? :mellow:) 7/29 Mat. - Victoria & Korsakov 7/29 Eve. - Diana (Covent Garden debut as Nikiya) & Fadeyev 7/30 Mat. - Victoria & Korsuntsev 7/30 Eve. - Uliana & Zelensky (PS: Dasha danced O/O on 7/22 with Kolb. They were according to one review I found , triumphant).