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  1. Nikia

    Maria Alexandrova

    Inga, Thank you for the articles. Ha-ha! Don't know about the missile, but she definitely has that unmistakable Bolshoi style. I wonder if those who accept her prefer that style in general as appose to those who are looking for more refined features of Mariinsky way of dancing. But then, again, I remember Svetlana Lunkina from the 2000 tour and liked her better. Hope to see her again with the touring Bolshoi.
  2. Nikia

    Maria Alexandrova

    Ha-ha... With that I do tend to agree. And also with the Kevin Ng who called her personality harsh. This is the word I was looking for when I tried to describe her rendition of Aspicia. Perhaps to some it appeared to be royal.
  3. Nikia

    Maria Alexandrova

    Hmm... Interesting. I must find these reviews. British critics are not so enthusiastic about her in classical role. They are kinder when she dances something modern. There are only few reviewers who I bother to read on the subject of ballet. Kevin Ng is among them: "The whole Bolshoi company were magnificent last night. The dancing was fresh and vibrant. Maria Alexandrova's harsh personality, not right for her Kitri last week, perfectly fitted Donnellan's conception of Juliet in this production. She is a fine dance actress. She was particularly dramatic in the scene when she hesitated to take the sleeping potion, and most moving in the tragic climax." http://www.ballet.co.uk/magazines/yr_04/au...olshoi_0704.htm
  4. Nikia

    Maria Alexandrova

    I also want to add that the role of Aspicia requires tremendous strength in feet and calves. The technique of "petite pas" is not held in the same esteem now as it was 150 years ago. It is coming back though, thanks to Mr. Lacotte. Anyways, Alexandrova petite pas technique is not strong enouph for the role. At times she even doesn't fully stretch her toe. She needs to work on that. Grand jete however is definitely her strength. I was particularly impressed when she soared across the stage, bow in hand. This was met with the well deserved applause. I do believe, however, that the role of Ramze suites her much better.
  5. Nikia

    Maria Alexandrova

    I saw Maria Alexandrova in Pharaohs Daughter in London. She demonstrated very high powerful grand jete. She has rather muscular technique of jumping. The ballet itself is entertaining to the extreme. There are snake, lion and even a live horse. The role itself is not dramatic and does not require a dancer to demonstrate much depth . Regardless, the ballet was "Bolshoi Season" triumph. Maria is avery good in this role and I would like to see her in the role of Myrtha, Aegina may be even Gamzatti. A very promising dancer indeed.
  6. Nikia

    Galina Mezentseva

    Hmm... Now you made me so curious that I just must see that Galina's Giselle on DVD. The person who wrote couple of posts above is absolutely correct. Mezentseva on stage and on tape are two different things. When she was on stage one doesn't see her physical imperfections, she becomes a true queen...no, an enchantress. And also her arms is something else: long, very long. And thin and expressive. They sing! Those of you who saw Uliana Lopatkina know what I mean. They definitely share something in common. Perhaps it is the ability to engage, to capture, to draw us into their mystical world. And when they do, we don't stand a chance to break out of it until the show is over. One leaves the theater with real tear and a bitter sweet notion that one touched something outer worldly, the mystery of true art.
  7. Akimova, I second your opinion 100%. Why it is perfectly OK to refer to Svetlana Aspicia as Pharaonka Light and yet consider my opinion of Alexandrova not OK? Where is the logic? After all, I just expressed my opinion which was that I find Alexandrova a good soloist, but certainly not a prima, and most certainly not of Zakharova caliber. I also expressed my own opinion of Nina A. When I saw her she was expressive, but too old to dance the lead. Yet, Mashinka instead of expressing her own opinion found it necessary to speak about what I feel and think. Please don't tell us what I think. Just tell us what *you* think of a dancer. After all, we do want to discuss the subject - not each other. Kindly keep this in mind.
  8. Nikia

    Galina Mezentseva

    I personally didn't see Mezentseva in Giselle, nor can I imagine her as one. Being both perplexed and awed by her talent, I still can't bring myself to buy and watch a DVD with her. It doesn't seem to be her. I mean she is not an easy Giselle. Who is? We demand a ballerina to be petite and svelte in Act I, yet tall and swanlike in Act II. I thought that Svetlana Lunkina could dance this role, but not to the technical perfection that we learnt to expect. Who is a perfect Giselle?
  9. Nikia

    Galina Mezentseva

    Dear friends, I have just joined this forum and read many topics with great interest. Such a variety of opinions, views and cultures. [comment snipped] Back to the topic of Mezentseva. She is certainly an enigma. I must admit that when I saw her life, I was very young, but mature enouph to see greatness where it presented itself. Why greatness, one might ask. Galina was not a beauty: protruding knees, big head, kinda shortish neck - well, not a Zakharova. But great she was. While possessing Kirov technique she was ready to sacrifice it all for ... expression. Oh, that illusive skill, the ability to express. How one can measure it? Certainly not in degrees of a develope, not in inches of one's jump, not even in musicality. Give you an example. Swan Lake. She portrays Odille just like Odette: aristocratic, refined... no even, rare. You come to like her, admire her and then... totally out of the blue she throws the bouquet of flowers that Zigfrid had presented to her, she laughs convulsively like a devil in a human form. It was so unexpected that people seating in the orchestra pulled backward, so unexpected was the turn of events. Some time later I watched the same ballet with her on DVD. Nothing even close. Go figure!
  10. Marc, I visited your websites and found your photographs of dancers in general and Svetlana in particular rather beautiful. Some of them go back to 2000. Any chance to see your more recent work? Regards.
  11. Mashenka, I stand corrected. I wish I had seen Nina in Aspicia. This way I would have had an apportunity to compare the three Aspicias. And although this thread is devoted to Svetlana, it is always tempting to compare. Perhaps we should be kinder when we do that :-)
  12. It's a very kind hearted intension, Marc. But a body is a dancer instrument, just like a violin is for the musician. Performance of a violinist might very well depend on that very instrument. And instruments do differ indeed. There is a stradivarius and there is another kind... made in China :-) To separate the two would narrow a discussion considerably. After all freedom of speech is not the privilege, rather it the right. Dear friends, please be more open to new ideas. Nina is gone. Hey, I was way too young to remember Nina in her prime. There is a new breed of dancers out there. Open your eyes and your mind.
  13. Mashinka, I am very respectful of other people opinions and I find yours equally interesting even if you do find fault with Svetlana. It is perfectly fine to differ. Unfortunately I didn't see Nina in the role of Aspcia. I saw her some time back in Corsaire. Yes, she was experience, she was expressive. But, well she was... old. Her body lost its suppleness, the lines were not the same. No matter how great a ballerina might be in the past, comes the time when it's time for her to go. Since this topic is about Zakharova, I would like to share something else that dazzled me in London. It's Svetlana physical beauty. Nowhere had I seen a ballerina of such perfect proportions. It appears if nature went that extra mile to create a body especially for the ballet. Perhaps there were ballerinas in the past, perhaps Bessmertnova or Spessivtzeva, but I didn't see them live. And another thing. I wonder if Svetlana is double jointed. What do you think Marc? When she opens her leg in develope and then carries it back to arabesque - there is no transition, so to say, but one movement. And her spine too. But the best feature is her amazing feet - flexible and expressive, perfectly able to create a phrase on their own. I wish I could write better. <sigh>.
  14. Mikhail wrote: "I wonder why Americans do not want to watch Pharaoh’s Daughter?" - Mikhail, you are joking! I wouldn't mind seeing it again. But I can tell you this much - I don't know of a single ballet goer who graves to see the latest and greatest R&J :-(
  15. Mark, I only wanted to share my impressions about what I saw in London. Since I saw both ballerinas in the same role I could not resist comparing them. Svetlana was a treat for one's eyes and for one's soul. I really don't want to downplay Alexandrova. I also watched her as Mirta some time back and was duly impressed by her ability to soar in the air akin to Spartacus, no sarcasm in this comparison. But my preferences lie with a more refined dancing style. I also rush to share with you that Zakharova is not my very best, i.e. favorite ballerina. There is one who I think tops her in the ability to project. I leave it to you to guess. Might be one of your favorite as well ;-)
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