Cygnet

Thanks to everyone on site in London for your detailed reports; they are much appreciated.

I that Masha Alexandrova fully recovers!

Birdsall, thank you so much for your reports!

On a much lower (?) tone, Laura Cappelle of London's Financial Times has weighed in with a sobering tome

on the current state of the Mariinsky Ballet.

http://www.ft.com/intl/cms/s/2/e7b69482-f8fe-11e2-a6ef-00144feabdc0.html#axzz2ae1Vd9yG

Thanks so much volcanohunter and cubanmiamiboy for your reports ! Your thoughts re Grigorovich's version and his butchery of the score are bang-on. I'm so happy to learn that Alexandrova and Skvortsov danced beautifully. It takes very strong and charismatic dancers to transcend and flesh out Grigorovich's production.

Here's a rehearsal clip of Obraztsova with Dave Hallberg: http://www.evgeniaobraztsova.com/news.html

According to Russian news sources, Iksanov has been fired from his post as General Director of The Bolshoi. So far I haven't seen any reasons given for his dismissal.

http://izvestia.ru/news/553322

I hope this leads to a real audit of the Bolshoi renovation financials and it won't be long until the main culprits are behind bars. It's also interesting to see whether or not Tsiskaridze is rehired, what happens to the Onegin casting schedule, in what capacity (if any) Filin returns after his recovery, etc., etc. The Bolshoi is such a horrible mess at this point that I almost feel sorry for whoever replaces Iksanov (some Russian news sources mention the director of the Stanislavsky theater Urin).

P.S. And, of course, it's pretty hard to believe that Iksanov's removal immediately following a conflict with an ex-MP and member of the ruling party Svetlana Zakharova is just a coincidence.

"I'm surprised; but I haven't been taken by surprise." Sir Peter Ustinov (1921-2004)

I'm ITA with you Waelsung. She may be influential backstage, but personally I don't think Zakharova is that swift -despite the fact that she was one of the faces of the United Russia Party and an MP. Who would dare want the post of General Director of the Bolshoi Theatre? Who would dare forward their CV? Whoever is on the short list to replace Iksanov I for one am that it isn't Maestro Gergiev ...(or his Mini Me).

Laura Chapelle of London's Financial Times reviews Obraztsova's recent debut at Palais Garnier with POB

in Lacotte's "La Sylphide."

http://www.ft.com/cms/2/34935d10-e240-11e2-7fa-0144feabdc0.html#axzz2XpRBsDI8

Brava Genichka !

Volcanohunter wrote:

The Cranko estate makes the Balanchine Trust look downright lenient.

That's putting it mildly ! Congratulations to all the cast members - especially Olga Smirnova and Evgenia Obraztsova! Personally, given all the drama this year, I thought that these two might not be apart of the inaugural slate of performances; so this is a very pleasant surprise to me. Zakharova will get two performances of Tatiana, as will Obraztsova and Smirnova.

Ballet has lost a most noble danseur and genius dance actor. May David Wall rest in eternal peace.

The Bolshoi is scheduled to perform the Russian premiere of Cranko's "Onegin" on July 12, 2013. It will run on the main stage through July 21 just prior to it's Summer engagement at Covent Garden. The casts are yet to be announced.

http://www.bolshoi.ru/en/timetable/

I'm wondering if Askerov was Kondaurova's choice for that all-important cinemas performance (potentially a DVD in which to be immortalized)? Her usual Siegfried or Solor is Ivanchenko who, for all of his faults, at least is a solid partner. As for Askerov, one can't help wonder if he would have been as klutzy if his usual Odette, Skorik, would have been dancing. (wink) Sometimes it's all about familiarity with a partner, months of experience together, etc.

I doubt that Askerov would have been her first choice, or that she even had a choice; but what's to be done? You keep your head down, do your job and get on with the show. As I stated in a related thread, Katya Kondaurova deserves a Siegfried who has a pulse. This performance is going to be shown in wide release in Russia starting

June 18: http://www.mariinsky...s2/07_230june1/

...Oh, I'm sure that this won't quiet NT.

"Keep your friends close - and your enemies closer." (Don Vito Corleone).

I'm ITA with you. Unfortunately, this isn't over yet; not by a long shot.

Thanks Chiapuris for this report. I'm surprised and shocked that Academy Award winning "Avatar" director, James Cameron's cinematography was "amateurish." Kondaurova is a superlative Odette/Odile. Timur Askerov is a slight upgrade from Yevgeny Ivanchenko, but really, Kondaurova deserves a Siegfried who has a pulse. Personally, I think that Maestro Gergiev's gimmicky use of his Ballet, and the apparent disdain he has for the company explains the il-informed, il-prepared spokesmodel, the lack of first rate technical personnel to match the much hyped and ballyhooed upgrades of the Mariinsky 2, and his complete misuse of this new opera house as a glorified Rave Cinema.

Unfortunately, Skoryk will go forward because Fateev wills it - regardless of improvement or lack thereof.

I look to the graduation performances for hope. One trend is undeniable: The talented graduates are increasingly opting to start their careers elsewhere. That is something that can't be spun or finessed away by the management.

Svetlana Zakharova, Natalia Sologub, Olga Esina, Elizaveta Cheprasova, (who recently made her debut as "Giselle" in Kiev when she couldn't get that role at the Mariinsky), and the Matvienkos (from time to time) all of them have moved on. In the mid 80s - early 90s generation, Irina Schapsits, Anna Polikarpova, Larissa Lezhnina left the Mariinsky Theatre. IMO these ladies were a "lost" generation in the (then) Kirov Ballet. They were three of what I called the Mighty Five Graduates: Ayupova and Makhalina were the other two graduates at that time, and were the only ones who stayed. Polikarpova went to Hamburg, Lezhnina went to Amsterdam, and Schapsits went freelance. At the time, Lara Lezhnina was, IMO as big a loss to the company in 1994 as Obraztsova was in 2012. Yulia Makhalina and Zhanna Ayupova became primas but they have been banned from coaching at the Mariinsky. Their style is considered passe and irrelevant by the current management. Indeed, their's isn't the current style of the company. Their style is what the Imperial Mariinsky/Kirov is famous for. Here's the thing: Many of the teachers at the Vaganova Academy are aging now. Artistic Director Altynai Asylmuratova is trying very hard to preserve A. Vaganova's principles.

As a result of these losses, the company's true "style-links" have departed, and with them priceless knowledge and guidance. Ayupova and Makhalina both have much knowledge to impart, but they aren't considered valuabale assets. Ayupova now coaches at the Mikhailovsky but Makhalina remains on the Principal roster and is mostly inactive. Where does the Mariinsky Ballet go from here? As long as Yuri Fateev is at the helm - .

It does seem pretty ludicrous to spend so much money on a new theatre and then use it as a movie theater. I mean, I know this is a one-off situation, but they will probably do it from time to time. This won't be the last time. The whole pitch about Mariinsky II is that it is state-of-the-art and can do things that were not possible in the historic theatre. Then, they turn around and use it to show a movie. Unbelievable!

Exactly .

The interesting thing is that I don't remember such situation having happened at the Mariinsky before...-(before Somova, I mean...)

In the 60s and early 70s, one Xenia Ter-Stepanova happened. However, unlike Skoryk and her predecessor,

Ter-Stepanova was left at home and set down when she committed faux pas during the Kirov's tours and didn't "hit"

with Western critics. Under the Soviets, the Kirov and the Bolshoi, wanted (well, were *required), to put their

best feet forward, or there would be repercussions as in loss of privileges.

Voice of Russia has announced the winners of the 2013 Benois de la Danse awards in Moscow.

The new recipients are Olga Smirnova, Vadim Muntagirov of English National Ballet, and Alban Lendorf of

Royal Danish Ballet! Choreographers Hans Van Manen and Christopher Wheeldon were also honored with

the statuette. John Neumeier won for dedication to the art, and will receive the statuette next year. Pierre Lacotte

was also honored for his contributions as a ballet restorer. Congratulations to the winners and all the nominees!

The gala and celebration concludes tonight at the Bolshoi Theatre.

http://english.ruvr....red-at-Bolshoi/

I am mesmerized by Olga's arms/port de bras...not that the rest of her 'line' isn't lovely. A warmer Odette than expected; ultra-cool Odile...but maybe she was nervously anticipating those 32 fouettes. She made it past that 'hurdle,' breathing a big sigh of relief, didn't she? Well, I'm sure that she will develop her interpretation and technique in the months and years ahead. Something great to which we can look forward.

Co-sign. This was a stupendous debut !

I apologize if this has already been mentioned, but if it hasn't: Those who hum along with the orchestra.

Birdsall mentioned that the Russians comment alot during performances. This is true, at home and

when the companies tour here.

Olga will be making her debut as Odette/Odile in "Swan Lake" tomorrow May 16, Her

Siegfried will be Semyon Chudin!

http://www.bolshoi.ru/en/performances/36/roles/#20130516190000

It will be very interesting to see how all of this plays out. Unfortunately, I don't think much if anything will come of it. Helene is absolutely right: In Russia, money talks - and it dances too. It influences casting decisions, theatre nominations, wins awards, and can pass mandatory evaluation exams whether they're annual or not. Also, who will determine and what will be the Ministry of Culture's criteria for "professional competence?" The Bolshoi doesn't really have a "strong-man" in Iksanov, but this proposal is a baby step in the right direction. However, the Mariinsky is a dictatorship/fiefdom, and there's no telling how this will be implemented even if it does become law.

Jayne asked:

Is Igor Zelensky even dancing? I thought he was full time AD at the Stanisvlaski Theatre?

The answer is yes to both questions. He is full time AD and danced Rudolph in "Mayerling" at the Stan

about a month ago.

As long as Putin is in power - Gergiev is in power. And as long as Gergiev is in power, he will choose a ballet director who will not challenge Gergiev. Futher, he will only designate him "acting" ballet director, in order to maintain control. I assume the term "acting" prevents certain labor laws from going into effect that might protect Fateyev.

This is precisely what's going on. This arrangement is totally beneficial to Maestro Gergiev. Mr. Putin isn't a Renaissance Man: He's into daredevil sports and would rather wrestle bears or hanglide with eagles than attend

the opera or ballet. So, as Gergiev trusts Fateev, Putin trusts Gergiev because he's not into high culture.

Legs? Appearance? Pluses certainly but not essentials.

Solid technique, stamina, personality, sensitivity and the ability to dance rather than just pose all matter far more. The more quotes I read from Fateev, the more I consider him a complete idiot.

...I do think administration is to blame...

ITA with what Mashinka and Birdsall have posted; with these additional thoughts: Fateev reigns supreme over the Ballet; his mere whim is "law" as it pertains to the Ballet. The coaches may pronounce their displeasure, they may request roles for their charges, but the ultimate decision is his. He decides who, what, when, where and (as he did with Skoryk's predecessor, and in the cited link above), why a dancer is frequently cast. He wills it to be so, and d*mmit, all of us are going to like it. It's all about his gut instincts and his belief about what a dancer can (and "eventually" will -> ) accomplish, given umpteen chances, and his personal taste. It's hard not to be facetious here, but he believes that we should all trust his judgement because it's his judgement.

Since Fateev is in charge as the interim ballet director, there's nothing that can be done about this because, as with all A.D.s, all of these matters - casting, development (or the lack thereof), everything that happens onstage - are his prerogative as the Head. What's key here is that Maestro Gergiev allows this because he's concentrating on the Opera and the Orchestra and he approves of Fateev and his leadership. Why? Because ballet is an art that Maestro Gergiev doesn't understand or care about.

I hope Lunkina remains in Toronto as well. O'Hare (and MacGregor) have made their choice: The Royal has signed Osipova. Lunkina is still pictured and listed on the Bolshoi Theatre site as a Principal. Incidentally, Pavel Dmitrichenko, the accused in the Filin case, is still listed as well. So, officially they haven't (yet?) been "expunged" from the Theatre. We'll see what happens.

Too much substandard singing, not enough ballet.

There were quite a few empty seats, which doesn't look great on television. But that's what you get when you invite VIPs rather than giving real fans access. The Bolshoi re-opening was full, but the frequently lethargic response of the audience gave them away as not real admirers of opera or ballet.

The first sentence I quote from you is very correct. Even Netrebko and Borodina (both of whom I love) had slight issues, but they were the best, in my personal opinion. The non-international opera stars were not very impressive.

This might be a sign of things to come.....pushing more mediocre opera on everyone and ignoring the ballet. I hope not.

It was interesting that the Tsar's Box (or whatever it is called in the new house) was so empty. You would think they could easily fill that! Shouldn't those seats be some of the best in the house? Although I know most people think orchestra seats for ballet are best, but often opera is best at a slight distance to really enjoy the size of various voices.

I co-sign all you've posted Volcanohunter and Birdsall. My only reservation is the moving stage while the Vaganova students and dancers are onstage. That seemed to be the only high tech. demonstration of the night with the new facility. I remember that the Bolshoi showed off practically every new technical trick that it had acquired two years ago. It seemed okay for Placido, as he was sitting down during his "entrance." Also, the chorus didn't watch Gergiev at the denouement of the "Slava" opening chorus/scene of "Boris Godunov." Also, the violinist looked exactly like Nacho Duato's twin - uncanny resemblance, right down to the glasses, only Duato has salt n' pepper hair .

Thanks Natalia for the clip; she just goes from strength to strength.