Ballet lovers

It is really amazing Natalia, a so important prize for a so nice dancer like Lopatkina !!! We only hope she will enlarge a little bit her classical repertory in the future ! 'Don Quixote" or " Sleeping Beauty" for example ?

Hi girls! Leonid Sarafanov has, without any doubt, a brillant technique but he has also big irritating disproportions : narow shoulders and big head to a skinny body that make him antiaesthetic especially when he dance half naked like in " Le Corsaire" or other similar. Natalia is really true when she write that the face is very important, especially in Russia, but we seemed that Sarafanov is not also a really interesting actor. Even if he has nice feet and legs is not enough to be a star. Sometimes we can't understand why the ballet direction likes this kind of dancers that are mediocre partners and not suit any today's Mariinsky's ballerina. A great dancer or simply a star of a so important theatre like Mariinsky, has not the right to fall the ballerinas down everytime! Sarafanov is a very bad partner and we have seen it many times ( " Sleeping Beauty", " Giselle" ) and it is not because he is only skinny but because he has a very bad school of partnering and he is very distracted everytime also. Dear Natalia, unfortunately we can't attend the Diana Vishneva's ballet evening, but we have seen many times quite all the pieces she has danced. Belsky's " Carmen & Jose", was one of the first pieces danced by Vishneva for Lausanne Ballet Competition and then on the inauguration of the "Chamber Ballet Theatre" in St.Petersburg, that has maked conspicuous her beautiful temperament. In " In the night","Steptext" etc.,we have admired Vishneva many times. As a matter of fact, we were waiting for something new interesting work near her most famouses pieces in her ballet evening but we were disappointed when we have known that the programme was formed only by the same pieces she has danced everytime even if it could be interesting to see Dunchenko with Lobukhin or Kolb in " Bakhti".

WELCOME NATALIA !!! Thank you very much ! We are really very glad you like our review, it is very kind of you.

We have seen Svetlana Lunkina and it seemed to us that she was not so tall.She is very proportional so she looks tall.She is " medium".

Thank you very much "Cambelto" for your post ( unfortunately we have read it only now).We appreciated it very much because we also like more the "petite ballerinas" even if we think that we can't judge the ballerina's talent with her height. In any case, the mini-ballerinas are more tender, soft and light and of course more "confortable" for their partners. In fact now, the most of the men-partners, are victims of many injuries caused by an excessive and impossible lifting of tall ballerinas even if they are tall and sturdy also. The today's aesthetics of course, is very different of many years ago but we have to admit that the most of the "talls", has also many problems with their technique even if we have many exemples of beautiful tall dancers like Sylvie Guillem, Svetlana Zacharova, Darcey Bussel,Yulia Makhalina or Uliana Lopatkina that have "amalgamated" technique,beauty and interpretation. In the previous generations, the "prima ballerina" was absolutly " little " and this was so beautiful!.We remember with big nostalgia the wonderful Carla Fracci, Natalia Makarova, Ekaterina Maximova, Alla Sizova, Gelsey Kirkland, Svetlana Efremova that have touched so much our hearts with their technique and charisma. Besides they were more suitable for " Nutcracker"," Giselle"," La Sylphide","Sleeping Beauty", " Cinderella' or " Romeo and Juliet". Of course it is terrible when a little ballerina has big disproportions but if we have splendid exemples even now like Alina Cojocaru, Svetlana Lunkina, Irina Badaeva or Aurelie Dupont, why we must to think obstinately that an " Odette" or "Nikia" has to be necessarily a Giant ? We have seen for exemple Cojocaru and Badaeva in "Swan Lake", and they were beautiful !

Svetlana Zacharova-Vladimir Malakhov Agnes Letestu- Danila Korsuntzev Diana Vishneva-Fethon Miozzi Uliana Lopatkina-Kenneth Greve We think that they are the most perfect pairs. We are waiting for their performances !

" THE SLEEPING BEAUTY" ( Olesia Novikova - Igor Kolb ) It is the most big celebration for all the real ballet lovers everytime when the "Sleeping Beauty" by K.Sergheev is represented in Mariinsky Theatre,especially after the boring and useless new version by S. Vikharev in 2000. That is why the Theatre was full. We were so glad to see one more time the beautiful scenes and costumes by S.Virsaladze and the incomparable choreography by Sergeev ( 1952 ) that seems to resist the time and to be the most nice and interesting even now. But...it seems we were really disappointed by the corps de ballet and many soloists ! The most of the ballet troupe, was in tour that is why ( maybe ) the performance was not really good. PROLOGUE: The Corps de Ballet was everytime doubtful and " dirty" maybe because there were many new young dancers we have seen for the first time in this performance, that seems don't know exactly the choreography. We think it is really shameful for this wonderful theatre ! From the all Fairies ( K.Ostreikovskaia, T.Tkacenko, E.Vassiukovich, Y.Selina, Y. Serebrikova ), only Ostreikovskaia and Tkacenko were quite steady and " in style", all the others danced very weak. T. Amosova ( The Lilac Fairy ), who comes back to the stage after a long absence, is not in a real good form yet. I. Baimuradov like " Carabosse" was disgusting. His interpretation and his manner were so "cheap" to lapse everytime into vulgarity. ACT FIRST: The famous and beautiful walts of this act was simply massacred by the corps de ballet : all the dancers moved with different times ( and sometimes with different steps ), nobody was follow the lines and the most of them didn't know where to go. We have seen also about only a half of the children of the Vaganova Ballet Academy.They were in holidays. After this disgusting sight we hoped to see something better with Olesia Novikova like "Aurora" for the first time, but..... since from her first "entree" we could imagine the rest. It is really very strange why a so capable dancer like Novikova can't dance with the right style ! She looked everytime not sure of herself and her mouvements were nervous and abrupted. On the "adagio" with the four Knights, her "piroettes" were so dangerous we think she'll fall down ( but she was not, fortunately). Of course we understand that all the dancers are frightened and nervous when they dance something for the first time, but when it seems they don't understand nothing about the manner and the style of what they dance, like Novikova in this case, we think it is unpardonable. ACT TWO: In this act also seemed that the Corps de Ballet was not the Mariinsky but a little and bad provincial company. From the artists of the " hunt" to the girls of the corps in the "vision" nobody was taking part emotionally to the performance, nobody was " in role" so all danced feeble and without interest. Igor Kolb was a good prince with a convincing technique and nice manner even if he looked a little bit tired. We have seen him in better performances. Novikova was little better than in the first act especially in her variation. ACT THREE: Is useless to refer again about the terrible Corps de Ballet we have seen in this performance. Even T.Amosova has done early her "entree" so she didn't know what to do on the stage for a cut of time !!! All the interpreters of the different "tales" were quite good. K.Ostreikovskaia and D. Simeonov in the pas de deux of the "Blue Bird" danced well but without particular brilliance. He, especially, was not enough soft and light like "bird". The " pas de deux" of Aurora and Desirè, was good and, fortunately, without terrible surprises. But why the Sergheev's version, one of the most beautiful in the world, is danced when the troupe is on tour so it is in this terrible conditions? Many of us think that it is a purposed action of the ballet direction to boycott it. So only in this case the impossible Vikharev's version looks better. But...what can we say? We hope,in this case, they will understand their fault as soon as possible before it will be not late ! " GISELLE" ( Diana Vishneva - Andrian Fadeyev ) A " holy event" , Diana Vishneva and Manuel Legris in "Giselle" !!! What a unpleasent surprise when we came to the theatre and we saw that the prince Albert was Andrian Fadeyev we have seen a lot of times !! In any case the main interest for all of us was Vishneva that celebreted her ten season on the Mariinsky Theatre so all the " elite" of St. Petersburg was there also. ACT FIRST: After the terrible " Sleeping Beauty" , it seems like the Corps de Ballet was formed by different people. They were wonderful like everytime they did ! Maybe because they came back from the tour we finally saw a beautiful performance. Vishneva is, without any doubt, one of the most nice and interesting ballerinas of the ballet world now. She can be technical and emotional in the same time and every her performance is a real masterpiece. Of couse the role of "Giselle" is not the most suitable for her "hot" temperament but in any case she tried as greatest as she can, to seem an innocent village-girl. In a few moments she is convincing but frequently, especially in this act, she looks like a mature woman with a big life experience that is trifleing with Prince's feelings and doesn't believe any more any " love story". Can you imagine any "flower" or prophecy ? So obviously we think: " Why she went mad ? She herself wants a little love affair ! In the variation she was feeble and insecure.Very strange for her wonderful technique. Andrian Fadeyev has improve his "Albert" but he is not, in any case ,enough expressive and interesting.He is very handsome but he looks everytime like a "victim" of the fiery Vishneva and not like a real " Don Juan". V.Martiniuk and V. Shklerov were not bad in the "pas de deux" of the first act ( even if he fall down on the end of his variation). ACT TWO: Here the Corps de Ballet was really amazing like in the best traditions of the Mariinsky Ballet. The most beautiful Corps we have seen !!! Vishneva seemed more involved and passionate in this act. Her beautiful jumps and romantic poses were really very impressive. She was a real convincing "Giselle", full of love and tenderness. Fadeyev danced with awesome technique his variation and he tried to be more emotional. In this act he was better. V.Tereshkina like "Mirtha" was beautiful ! Her high jumps and definite arm poses (and also her "angry" face) were really unforgettable. I.Popov was not really impressive like "Hans" ( or "Hilarion"). He is not nice and quite convincing, in the first act also. Besides It seemed he was thinking only about his "cabrioles" and not to be a good actor ! Very well K.Ostreikovskaia and E.Osmolkina like "Monna" and "Ziulma".

Thank you very much, we are very honoured !

We don't understand what does it mean: but we are very glad if you like our posts.Thank you a lot !

We also prefer usually couples with different personalities. Without any doubt, they are the most interesting. But what about great pairs like Fracci-Bruhn ,both gentle and lirical ? Kirkland-Baryshnikov ( even if, unfortunately , they were not couple for longtime ), technical and charming? Assylmuratova-Ruzimatov, both with their hipnotic oriental beauty? Sometimes we think that the same qualities in two talent artists, are something like a firework that is able to make the audience be in a frenzy. For exemple , we think that Vladimir Malakhov and Svetlana Zakharova ( Bolshoi Ballet ) are perfect together especially for their similar and incredibles physical qualities. Kenneth Greve (Royal Danish Ballet) and Uliana Lopatkina (Mariinsky Ballet ) could be great ! They are tall, handsome and with a nice " nordic coldness".The same for Agnes Letestu ( Paris Opera Ballet) and Danila Korsuntzev ( Mariinsky Ballet ) that are very similar but more "hot". Aurelie Dupond and Andrian Fadeyev were very similar and perfect together in "Romeo and Juliet" and they could be also a very interesting pair. Alina Cojocaru and Fethon Miozzi could be a great pair for their similar deep sensibility even if many of us think that Diana Vishneva and Fethon Miozzi could be the most interesting couple for their similar wonderfull tecnique and personality. The most of the couples we have mentioned, didn't dance together yet. We are waiting with impatience this event !

Margot Fonteyn danced very much also with Robert Helpmann and not only with Michael Somes but , in any case she had the most "understanding" with Nureyev. You are really true when you write that Cojocaru-Kobborg is a perfect pair ! We like also very much (even if we think that Cojocaru is more interesting and expressive). They have very similar personalities like also the most of the couples in Russia we have mentioned. But what it is better, a similar or a different personalities for a great couple? For exemple, Fracci- Bruhn were very similar but Fonteyn-Nureyev were very different. Maximova-Vassiliev were similar but Dudinskaia-Sergheev were different. Sibley-Dowell were similar but Makarova-Dowell were different. In St.Petersburg , for exemple, Kullik-Kim were similar but Badaeva-Miozzi are different. Tsiskaridze-Nioradze are similar but Tsiskaridze-Lunkina are different.

O.K. Sorry !!!

We don't think is "senseless" to love a great couple . The most of people love the talent pairs like in the Hollywood films!

We think that the partnership of Sibley - Dowell or Makarova - Nagi were beautiful but in any case the best "duo" was Makarova - Dowell even if they were not a permanent couple. Besides, before Makarova leave Russia she was a very close partner of Nikita Dolgushin and they were really a rare pair!

In the "Nureyev generation" of POB principals, there are not in any case "consolidated pairs" because they are not dancing together everytime even if they are superb .

We have seen Cojocaru - Kobborg on the last festival in St. Petersburg. They were beautiful even if we think that Cojokaru is much more touching and expressive than Kobborg. He has an awesome tecnique but sometimes he is not enough deep in his feelings .We think she is more "complete" and interesting. We have seen also Irina Badaeva and Fethon Miozzi in " Swan lake" , "Giselle", "Nutcracker" and "Sleeping Beauty" (except of the gala programs) and they were unfogettable! We think that they are even much more interesting in full-evening works that in gala. Badaeva is so sweet and tender and she has a nice and aristocratic manner that remind very much Irina Kolpakova, especially in the "Nutcracker". Miozzi is very charismatic and emotional in every his hero. He is an amazing actor and he is able to enchant any audience , especially in " Giselle".

We don't think that Assylmuratova was closed more to Zaklinsky. He was a beautiful dancer but he didn't make a permanent "couple" with his wife. With Ruzimatov there was the most interesting partnership !

In the classical ballet, we fans are attracted sometimes not only by a single dancer but also by amazing ballet couples. The most famous and interesting in this writer’s memories, is, without any doubt, Rudolph Nureyev and Margot Fonteyn. This legendary couple cast its spell all the world, leaving us unforgettable sensations and turning us into lovers of the art of ballet forever. When we remember their beautiful interpretations of "Romeo and Juliet,” "Marguerite and Armand," or "Le Corsaire,” we understand that, even now , when ballet tecnique may be more perfect, we can't find as wonderful a total performance where the man & woman seem to understanding each other. We can say almost the same about Ekaterina Maximova and Vladimir Vassiliev, unforgettable virtuoso-interpreters of all the classical repertory. They also have helped to make the Russian ballet known and perhaps the most beloved to all the world. (By this we mean - recognized by average persons who occasionally enjoy ballet, not ballet specialists in specific countries who love NYCB, POB, the Royal Ballet, Ballet de Cuba, etc.). Carla Fracci and Erik Bruhn made history especially with the "lyrical classical repertory" (such as "Giselle" &"La Sylphide"). She imbues a sweet and gentle character in all her heroines and he was generous and noble in his manner. In more recent periods we have not had examples of such great pairs even if couples like Alessandra Ferri - Julio Bocca, Agnes Letestu - Jose Martinez, Alina Cojocaru - Johan Kobborg or Agnes Oaks - Thomas Edur are very nice and interesting but they can't become history like "couples" maybe because they do not have the same harmony and charm that has characterized their predecessors and maybe because they don't dance together all the time. In Russia, too, used always to have many beautiful couples. -- not just Maximova - Vasiliev but Struchkova - Lapauri; N. Pavlova - Gordeev, to name a few Moscow examples. However, it seems that this tradition is also disappearing little by little, even if, for example, in St.Petersburg, our favorite ballet place where we follow more carefully all the ballet events, we still have some interesting examples. The most legendary couple here were Natalia Dudinskaya and Kostantin Sergeev who for many years enchanted the audience with their awesome technique and impressive innovations (for that time) in the classical ballet. Even now we can't find more ingenious versions of "Swan Lake,” "Sleeping Beauty," or " Raymonda" by Sergeev. In the sixties and seventies, there were very interesting pairs like Alla Sizova and Yuri Soloviev, characterized by their high jump and ample movement, being unforgettabble interpreters of "Sleeping Beauty" and " Flowers Festival in Genzano.” Alla Osipenko and John Markovsky, after been one of the most nice and followed couples of the Kirov Ballet, they left the Mariinsky Theatre and they were leading soloists of the Leonid Yakobson's ballet troupe and beautiful interpreters of many of his ballets ("Rodin"). Irina Kolpakova and Serghei Berezhnoi were always a clear and lovely example of the real Petersburg ballet style: strict ballet school with definite arm poses. In the same period, at the Maly Theatre, we found almost the same qualities of Kolpakova - Berezhnoi, in the couple of Nikita Dolgushin ( now artistic director of the Conservatory Opera and Ballet ) and Tatiana Fesenko, amazing interpreters of " Giselle," "La Sylphide" ( first interpreters in Soviet Union) and "Esmeralda.” Natalia Bolshakova and Vadim Gulaiev from the Kirov, a very popular pair in the seventies and the first half of eighties, were very interesting interpreters not only of new works of young and talented choreographers of that time ( Eifman, Vinogradov, etc.) but also of some classics like "Napoli" by Bournonville and "Chopiniana.” At the Maly Theatre, Irina Kirsanova and Yury Petukhov, now director of the St. Petersburg State Academic Ballet, also known as the “Choreographic Miniatures Ballet Troupe,” worked in the same way. Besides, Petukhov has created many interesting works for themselves and, later, for different dancers and companies. Later, in the eighties, the most famous pair in St.Petersburg and later the rest of ballet world, were Altynai Assylmuratova (now director of the Vaganova Ballet Academy) and Farukh Ruzimatov. This couple was able to collect every time a huge enchanted audience and their every performance was like a "holy event"! It was a big pity that later they broke up and didn't have permanent partners for several years. Just recently, Ruzimatov seemed to find a big "stage feeling" with Diana Vishneva but unfortunately they also broke up and now only rarely dance together. Margarita Kullik and Vladimir Kim were another very famous Petersburg Pair. They had a lot of fans especially because she was one of the best pupils of Natalia Dudinskaya, having a very strong technique, absolutely necessary for their best pieces like "Flames of Paris,” "Harlequinade" or "Tarantella" by G. Balanchine. They recently retired, their place perhaps having been taken by another technically strong and charismatic couple, Irina Badaeva and Fethon Miozzi. Badaeva – Miozzi began as one of the most interesting couples at the Mariinsky Ballet and now, as freelancers, they dance throughout Russia & beyond, keeping the best traditions of Russian ballet style and enchanting the most knowledgeable audiences. We especially love their interpretations of "Giselle,” " Swan Lake" and " Diana and Acteon." But we wonder why the concept of the "great ballet couple" is slowly disappearing? What is the reason?

Dear Mikhail, thank you very much, I'm glad you like our review. Samodurov and Marquez, danced " Spring Waters" by Rakmaninov - Messerer, I am sure. This wonderful duo is often superb danced by ballet artists of Moscow. Bye !

Sorry Natalia, I didn't understand your joke immediatly but now....ha,ha,ha !!! Big kisses !

I think Ruzimatov is a very talent and intelligent dancer so he knows that sometimes is better to dance something near his big professionality and deep expression and not something stricly tecnical, especially near so young and tecnique dancers like Korsakov,Gudanov or Miozzi. " The dying swan " is a piece "obligatory" for any top-ballerina so for Lopatkina too. It is a very touching and impressive solo and every "prima" is sure of big success everytime. That is why many stars dance it in gala. I don't know if Korsakov and Zhelonkina were tired but everytime I have seen them in other occasions too, they danced with an amazing tecnique but without "heart "( especially Korsakov ) that is so important in the classical ballet. Of course in any case, they are top dancers.

Thank you very much for your answer and your enthusiasm for our rewiev Natalia. Fethon Miozzi and Irina Badaeva are " free lancers" now, for several years, and they are one of the most requested guest-couple especially in Russia. They are very often in tour worldwide and they dance in many companies all the classical repertory. We have seen them also in "Giselle ", "Swan Lake" and " Sleeping Beauty" with different troupes. They were really beautiful !

On the 2 of January, there was a very interesting and important gala-performance at the Mussorsky Theatre of Opera and Ballet ( Maly Theatre ), where taked part famouses russian and foreigners stars: - Ulyana Lopatkina, Farukh Ruzimatov, Natalia Sologub, Irina Zhelonkina, Alexandra Iosifidi, Anton Korsakov ( Mariinsky Ballet Theatre of Saint Petersburg ). - Maria Alexandrova, Dmitry Gudanov ( Bolshoi Ballet Theatre of Moscow ). - Roberta Marquez, Vjacheslav Samodurov ( Royal Ballet of London ). - Irina Badaeva, Fethon Miozzi ( Ballet stars of Saint Petersburg - former Kirov ). - Stanislav Feco ( National Ballet Theatre of Prague ) . Corps de ballet of the Mariinsky Theatre. FIRST PART: - Adagio from " Swan Lake" - P.I. Tchaikovsky - L. Ivanov ( Natalia Sologub - Stanislav Feco and the corps de ballet ). Natalia Sologub in the role of Odette, was very accurated but not enought languishing and touching. I have seen her many times in several ballets ( Manon , Giselle , Cinderella ) and she was really better than like a " swan ". The corps de ballets of the Mariinsky Ballet was absolutly beautiful. - Pas de deux from "Harlequinade " - R.Drigo - M. Petipa ( Irina Zhelonkina - Anton Korsakov ). Both of this Mariinsky soloists, danced with a superb tecnique but without the right cheerfulness that is so important for this pas de deux. They danced boring and with indifference for each other. It is really a big pity because I think they have a good potential like actors also. - A scene from " The Vision Ball " - F. Chopin - D. Bryantsev ( Irina Badaeva - Fethon Miozzi ). I have seen this couple a day before, also during a gala-performance on the Hermitage Theatre where they danced with a brillant and awesome tecnique the pas de deux from " Nutcracker " and the " Venice Carnaval ".The audience was enchanted of them. In this gala they show us a very interesting duet where they were distinguished by a great artistic sensibility and a touching romantic temperament. - " The Crane " - a japanese folk song - A. Ratmansky ( Dmitry Gudanov ) Very interesting choreography by A. Ratmansky where the Bolshoi star D. Gudanov danced with a nice plasticity and an attentive musicality. - " Classical pas de deux " - D. F. Auber - V. Gzovsky ( Roberta Marquez - Vyacheslav Samodurov ) It seems this couple was very worried about the tecnical difficulties and they forgot to keep the nobile style of this piece. Both of them were not be able to joy the audience maybe because they were really very far from the real character and the style of this pas de deux. - " To the Poet's Death " - G. Malher - M. Bejart ( Farukh Ruzimatov ) A really impressive interpretation of this wonderful dancer ! He was intense and never boring in this difficult solo of M. Bejart. It was a real big emotion to see once more Ruzimatov in one of his best and dazzling pieces. SECOND PART: - A scene from " Sheherazade " -N. R. Korsakov - M. Fokine ( Alexandra Iosifidi - Stanislav Feco ). This so nice exerpt was not very impressive with this couple. Alexandra Iosifidi was quite accurated in tecnique and manner but she was not enough charming and sexual, maybe because she was not helped by her partner ( Stanislav Feco ). He was really terrible ! He is absolutly not nice and hipnotic like " gold slave ". The audience was even laughing when he danced. - " Walts "- M. Moshkovsky - V. Vainonen ( but it was " Spring Waters " - S. Rakhmaninov - A. Messerer ) - Roberta Marquez-Vyacheslav Samodurov - As well as in " Classical pas de deux " this couple danced this so impressive duet, very weak and nervously and without any expression. Besides, on the last " lift" ( the most impressive of all ) , Samodurov useless tried to lift Marquez about three times but without any result. - Pas de deux from "The Pharaon's Daughter " - C. Pugni - P. Lacotte ( Maria Alexandrova - Dmitry Gudanov ). A big example of tecnique and expression from this wonderfull interpreters. Both of them are very strong and accurated and they show us the most beautiful tradition of russian ballet style. - Grand Pas from " Don Quixote " - L Minkus - A. Gorsky ( Marianna Yakovleva - Anton Korsakov and the corps de ballet ). A new name : Marianna Yakovleva. She was graduated the last year from the Vaganova Ballet Academy and now she is in the corps de ballet of the Mariinsky Theatre. She dance well even if sometimes frightened. Korsakov showed a wonderfull tecnique but always without any passion. Very good was Tatyana Nekipelova in the Solo-variation. The corps de ballet was brillant but in terrible costumes ! -" The Dying Swan " - C. Saint-Saens - M. Fokine ( Ulyana Lopatkina ). A really magic moment with this so beautiful star ! She was splendid and unique with her long and soft arms. She looked like a real swan ! The audience was in a frenzy.