Cygnet

Oops, sorry research blooper! Thanks for the link Estelle! I thought they were still segregated - good for them! However the case is decided, it doesn't look good. Re the Vienna, (if he wanted to), he'd have to successfully audition for, and then complete three years' probation with the State Opera orchestra, before he could even apply for a Phil spot.

If it is that the NY Philharmonic seeks the best players, and the best are women, and typically Asian, then it says something about the state of things.

<{POST_SNAPBACK}>

Exactly! If he covets a spot in an all male orchestra, he may

audition for the Vienna or the Berlin. Equal rights never meant equal

results.

"The Bolshoi has not tamed Zakharova's freak show extensions; they are still

very much in evidence and border on the gynecological."

Leigh Witchel's review of Zakharova's Kitri in 'Don Q' at the Met , July 18, 2005.

Lately, the most beautiful costumes I've seen are in Eifman's 'Anna Karenina.'

I agree re the Bjornsen 'Beauty' designs. The scenery gave me the perspective of looking up through a manhole in the street. It totally distorted the dancers'

line and the choreography. How can I forget Catalabutte's black stilettos and Aurora's bedchamber? Her bed was a slide; she slid down to the floor after being kissed. Other scenery & costumes I've never cared for: Dowell's Act 3 & all of Grigorovich's 'Swan Lake' & 'Romeo & Juliet,' the Lyon Ballet's 'Cinderella' ('Chucky Goes To The Ballet'), and Alla Mikhailchenko's black leather s & m Odile tutu.

It would be interesting to see how the entrance of the shades would look like if Matthew Bourne would renew it.

<{POST_SNAPBACK}>

Please - don't give him any ideas!

Meredith Daneman's biography of Fonteyn is full of insight into the whys and especially the how's of Fonteyn's path.  (The example of Ulanova at a crucial stage of Fonteyn's career, is stressed.)  Diane Solway's biography of Nureyev tells a much sadder story about longevity on stage.

Any more stories about the HOWS and WHYS?

<{POST_SNAPBACK}>

Frequent performances and constant touring are major factors too.

It's possible (probable?) that Margot's Covent Garden & international committments may have been more intense than Ulanova's at that age.

Margot had to be the most travelled Prima Ballerina of the 20th century.

Gabriella Komleva

Natalya Bessmertnova

Ekaterina Maximova

[ ". . . watching the Kirov entrance always places me in a state of trance."] I agree with you Mohnurka! When the corps has unanimity of impulse, it's an awesome thing to behold. They're mirror images of each other. My favorite part is when the last corps member completes her penchee, and they all close ranks and step into 5th to begin the centerwork. IMHO an excellent corps makes Act 3 fool proof. Act 3 would be 'boring' if the principals are ill-matched, or especially if the Nikiya is miscast. I think A. Croce said it best: "I know Nikiya is supposed to be dead; but blind?!"

Cygnet -

Irina Kolpakova never danced Swan Lake during her many years as prima ballerina (de facto if not title) of the Kirov. 

Russian Artistic Directors simply have their set ideas on emploi. Their 'thinking' has been such since Catherine the Great, though all Czars & Commisars,  and there's nothing that you and I can do to bring logic to bear!

Thalictum - I know that Somova danced the Sylphide portion of Etudes at the Ulanova Memorial Gala at the Bolshoi in May 2004 (I was there! She bombed, IMO.) but not the full ballet back home. Can you confirm?  Last week's Etudes was reviewed as her official debut in the role, according to mariinka.org.  They could, of course, be wrong.

NN

<{POST_SNAPBACK}>

Yes I know, I know; but it's still frustrating. Re Somova: Perhaps she excels

in class and rehearsal. I'm mystified. Can't they see she's unable to deliver when it counts? (Also, what's happened to the Yana Selina campaign)?

And a source close to [snip]

And how sad that London will not see Vishneva's magnificent Odette/Odile!!!!

Let's say that Samova, Bolshakova, and Vostrontina could learn a lot from seeing it.

<{POST_SNAPBACK}>

I agree Thalictum! Who knows why the MT does what they do as far as casting is concerned.

I think Thalictum meant that the casts will change, most likely with no notice whatsoever, as happened recently at the Kennedy Center (Natalia provided some of the unpublicized cast changes there on the Kirov Corsaire thread).  Such changes are to be expected with the Kirov; it can be extremely frustrating if, for example, you bought tickets to see Ballerina X and then the curtain goes up and Ballerina Y pas de bourrées onto the stage.

<{POST_SNAPBACK}>

I know how that goes. I paid to see Pavlenko and I got Nioradze in "Bayadere."

Would anyone care to place a wager that Pavlenko's one "Bayadere" will go

to Somova? I wouldn't bet my house that Dasha gets that performance. And she's been benched for "Swan Lake;" not one performance.

Hi Solor,

I know the modulation that your're talking about. In the MT's new/old production,

and the Grigorovich production at the Bolshoi, its a 3 - 5 bar change from

minor to major - a set up for the Gold Fairy variation. I've only heard it in performance. I've bought a few complete SB recordings over the years, (Russian & Western orchestras). These recordings were the complete Moscow edition of the score. None of them recorded the numbers out of the original sequence.

If I were stranded on a desert island I'd have to have -

TCHAIKOVSKY: Swan Lake, Sleeping Beauty, Nutcracker, Suite No. 3 (Theme & Variations), Symphonies Nos. 3 (Diamonds) 5 & 6 (5 & 6 - just because), & Serenade for Strings

PROKOFIEV: R & J, Cinderella & from Ivan the Terrible (Anastasia's first monologue from Act 1)

GLAZUNOV: Raymonda

CHOPIN: Les Sylphides (Glazunov arr.) & A MONTH IN THE COUNTRY

(Lanchberry arr.)

STRAVINSKY: Firebird, Cappricio For Piano & Orchestra (Rubies) & Rite of Spring

DELIBES: Coppelia

MASSENET: The pdds from MANON and her Act 2 ballroom solo.

MINKUS: La Bayadere & Paquita

I received the book yesterday. When I ordered there were two left, so get hopping people! This book is excellent and a must! It has photos of the first night performance in 1890, and the 1999 revival. It also

names the original cast principals, and the (unsung to history) lesser soloists who created the 'other' fairies, courtiers, fairy tale characters, nymphs, genies, etc. If you've seen the production, compare the archival photos and you will be struck by the attention given to every detail. The 1999 scenery and costumes are indeed exact replicas of what it was. Vikharev & the Maryinsky did an awesome job.

The text, research and interviews are on point and very thorough, discussing the entire history of the ballet in Russia. This timeline covers project conception in 1889 up to the 1999 revival. The bibliography and citations are very detailed. Surprisingly, the book is quite small to be so jam packed with information. If you buy it, read the Appendix first for a good laugh: It contains all of the reviews of the media and dance & music critics of 1890 St. Petersburg .

I'm glad to hear Dumchenko is doing so well! If I were a Londoner, I'd wish that

Bolshakova and Lopatkina could split the SLs between them.

I had my first lessons in pre-school. My mom introduced me to Chopin, Mozart and Tchaikovsky at that age too. Talk about music to grow by! Mom saw to it that I was exposed to everything ABT, and RB. I remember seeing Giselle, Swan Lake, and Sleeping Beauty etc all the way through to adulthood. At the same time she encouraged my study of classical music. (Moms are great aren't they? ) I'll be forever grateful to her. Also I'll be forever grateful to PBS because its through that station that I was first exposed to NYCB, DTH etc., in the first broadcasts of Dance in America & Great Performances. I've been hooked ever since.

I saw this afternoon's matinee and I thoroughly enjoyed it! This was my first

experience of the Eifman Ballet, and I was pleasantly surprised. The costumes

were to die for: The scenery, the lighting and Eifman's choreography - all were

excellent. The soundtrack of this psycho-ballet drama were segmants from Tchaikovsky's "Serenade for Strings," Symphony No. 6, Suite No. 3,

"The Tempest" and other selected minor works. Eifman really gets to the heart of the matter; the story moves swiftly and the dance is quite narrative. Abruzova was wonderfully transparent, pliant and technically secure as were Turko and Markov. Eifman's conception of Anna's suicide, in the first act where she stands in the middle of little Sergei's train tracks, and the end where the corps is the

train . . . now that was as Lewis Segal said, "a coup de theatre!"

BONUS for the price: Eifman gave a 30 minute Q & A session on stage immediately after the performance! I was one of 50% of the audience that remained. It was worth it! Some of the questions were: 'Will this be available on DVD soon?' (He "hasn't yet found a company that satisfies him to do justice to his work and at the right price"). 'How do you approach the work - does the choreograpy or the music come first?' - ("Music first, meditation on the music then choreography last").

Eifman was very gracious and completely down to earth and humble. There was one elderly gentleman who, almost overcome with tears, spoke passionately in Russian from the second row. He complemented Eifman on his excellent choice of music. I sensed (as possibly most of the audience) that this old man, an ex-patriot was fully aware of Eifman's struggle and persecution under the Soviet regime, and well acquainted with his work. It was a moving experience for him to see Eifman finally successful and appreciated. Eifman profusely thanked the elderly Russian for his kind words.

What was really refreshing was that he said he's most concerned with the art of creation and the audience's love of his theatre's work, rather than the more mercenary aspects of the dance world. Two minor "issues" - there was no synopses in either of the two programs (the Music Center program or the

company program). Also, I wish that the Tchaikovsky could have been played live rather than on tape - but you can't go wrong with Svetlanov conducting

the USSR State Symphony Orchestra in Suite No. 3! A great afternoon of ballet!

From what I have heard from an RB insider, Ross Stretton was more sinned against than sinning and it will be interesting to know if now that he has sadly passed away, more information about what was the ugliest period in the Royal Ballet's history will come to light.

<{POST_SNAPBACK}>

I realize that I'm almost a week late with this. I am so sorry to hear of

his death. My deepest sympathy to his family. Mashinka you made an

excellent point here. In Kirkland's second book, she mentioned that she

passed none other than Lynn Seymour in a Covent Garden hallway.

Seymour advised her to, "Watch yourself around here." I also hope that in

death he will be vindicated. Afterall he was the RB's A.D. whether some liked it

or not. As such, he is apart of the RB's history, however short his tenure. In

the Pantheon that is British ballet there are a few critics who are at times a little excessive in their opinions. You've heard of professional Balanchine mourners? Well, the vitriol in this "eulogy" is the English version.

IMHO I think Gillian could make better use of her eyes as O/O. There are some great ballerinas (and some from the recent past) who made excellent use of their eyes as O/O - see the Makarova/Dowell tape, Plisetskaya's tape, and of the ones I've witnessed, Tchyentchikova/Zaklinsky, Asylmuratova, Jaffe, Van Hamel, Harvey, Dunham, Ananiashvili and Bussell. Most recently I've seen Irina D., Zakharova and Pavlenko, the latter being quite mysterious and iconoclastic. So, I must see Gillian live in this production with opera glasses to fairly judge how she projects her emotions vs a televised performance. Her "drama" has to project to the last seat in the last row of the highest balcony. For me her Act 3 was technically sound as she adequately managed to marry her acting to the dancing. Give her time: 2-3 more years of O/O will reap the expected dividends.

I agree with you Cabro and Alexandra with your points. I think it must be me: Angel didn't change his expression until Act 4. Maybe I imagined it. However he is a virtuoso's virtuoso! Okay, I'm spoiled. I didn't care for the cuts in the score or the abridged performance. I didn't care for the conductor's interpretation of the music either; for me he phoned it in from the podium, (please forgive me - memories of Victor Fedotov). Truly, a masterpiece played "by the numbers." However, the concert master was the cat's pyjamas - excellent! Now, I know that this was a T.V. performance. I must see the live version. I didn't care for the camera angles during Acts 2 & 4. I want to see the feet and the precision,

thank you very much. The scenery and concept was A+++. Stappas was excellent and he dies very well; he just needs to lay down on the stage in the back, not sit down on the steps of the ruins.

Greatest moments: The pas de trois - Reyes and the Cornejos were out of sight, the Cygnets, (whoa - for a minute there, I thought was watching the Maryinsky), and Gillian's Act 3 solo and tripled fouttees. Gillian is a heroic ballerina. I feel she is more convincing as Odile than Odette. She's still finding her Odette. Her Odile is alot more evolved than the other O right now. Gomes was wonderful! He really oozed sex in the Russian Dance. He was the ladies' man, upstaging the man of honor in his own castle. The four princesses completely forgot about Sieggie, and so did I !

Not so great moments: I missed the polonaise in Act 1 - okay, so sue me! Act 1 was well done, but Siegfried's brooding with Benno and the courtesans, and the opening duo of Sieggie and Ben in Act 2 found me going to the kitchen to get a piece of pie. These segments reminded me of the Freudian Grigorovich version's transition to Act 2. I missed the stuffed swans gliding across the lake. Tiny scenery gripe: In Act 2 the castle waaay in the distance with the drawbridge light on needs to be taken out; with the huge harvest moon its just too busy.

Other not so great minutae moments: I missed Odile hitting the stage like a hand grenade, and I missed Siegfried running out into the night in despair. It's a new experience for me to see him get locked down in his own ballroom by VR. The character dances were a little stiff for me, but nonetheless well executed. The two guys from Italy were great! The Czardas needed more paprika. The Spaniards, had very little espanolada - this dance demands fire, and it begs for fans or castanets. I missed the opening of Act 4 and the dance of the swans (either McKenzie could have created one, or the Valse Bluette would have done). Logistics aside, its just too short for the dramatic flow.

Samova is not a star; she is a dancer being cast in lead roles.

<{POST_SNAPBACK}>

Amen & ditto that Thalictum!

I can only describe the review as a hatchet job---is the writer a professional journalist?  The writer is an admirer of Bessmertnova, a dancer I was neveer particularly taken with.

<{POST_SNAPBACK}>

I agree, the review was excessive. Alexandrova is an exceptional dancer.

This is a good example of destructive criticism. There's no encouragement at all.

Perhaps Grigorovich's version of SL is not the production she should dance.

And if so, that's okay. Vishneva has danced SL, but not with the Maryinsky. She's going to dance it with ABT, and has danced with the Berlin, the Tokyo and in Italy. These were stylistically valid moves on her part - and wise. Her style is very open, it would look 'different' in the Sergueyev production. This same "reviewer" completely blew Zakharova's May 2005 debut in Raymonda out the water in the same way. This person a) compared Sveta's Raymonda to her coach Semenyaka - wrong, and b) argued that the best coach (?) for Sveta in this ballet should have been Bessmertnova. Not so. IMO Bessmertnova was totally miscast as Raymonda.

Hi Mme. Hermine,

You're right - it's KC ! I'll have to rent the DVD again. It certainly wasn't the "Showdown at the House of Blue Leaves" (in Kill Bill Vol. 1), but the drama

of the action was worthy of the Met's plaza !

I agree. Bancroft's Emma walked and carried herself offstage as if she were already 'in' taking the first steps in a slow pdd. MacLaine's Deedee walked as if she were going to the kitchen . I think the one scene that reveals this most clearly is where they entered the bar, (in turn) and had their discussion before the

the 'altercation.'

". . . I hope that this parade of sequels does not go on for as long as the Star Wars movies!

<{POST_SNAPBACK}>

If Chemyakin's going for the Star Wars prequel model, (not counting his 'Nutcracker' ), he'll need one more ballet after 'Princess Pirlipat' and 'The Magic Nut' to complete the trilogy. Someone else has also posted on another link that it's a waste of time, talent and money. Q: Can anyone really add to or take away from a stand-alone masterpiece? Not that 'Nutcracker' compares, but who would dare put bookends on 'Sleeping Beauty?' IMO Chemyakin's designs are very good, but shouldn't he start looking for another source of inspiration? Based on the reports he's exhausted the 'Nutcracker' lore.