Buddy

Yekaterina Chebykina’s life, and those of others, have indeed been heart-touching ones since the beginning of all this, Drew.

Taking a quick look at performances, some videos have been posted of Maria Iliushkina’s most recent Raymonda. She looks as lovely as ever with even more finely crafted presentation. I’ve only glanced through, but the scarf dance seems especially beautiful in its lilting airiness.

Renata Shakirova’s development is showing similar qualities of dance loveliness. She also seems to be developing more of that perhaps not easy to define quality, substance. By substance, I don’t necessarily mean seriousness. Light-hearted, which she, Maria Iliushkina and others possess can have this, equally. Renata Shakirova is now adding a more atmospheric depth to her vocabulary.

And I’ll continue to enthuse over Kimin Kim’s artistry. He has remarkable physical prowess for which he’s famous, fine partnering and compelling expression. His expression is deeply rooted in his personal artistic vision, with a definite sense of worldliness, and this seems to be his driving force.

As somewhat of an aside, both the Mariinsky and the Bolshoi appear to have a strong interest at times to include more contemporary works and ideas into their format. I personally think that these two companies are so strong in what they do best, classical, that it’s not that critical to have great ‘modern’ capabilities as well. Their touring, and now the age of video, have given them exposure to the rest of world and are reflected in how they perform and have given them a grasp of contemporary significance. When they do look for a broader contemporary vocabulary there is some right on their own doorsteps. I would call attention to the early, more lighthearted creations of the Mariinsky’s Maxim Petrov or the ‘contemporary dance’ prowess of young artists such as this one, Alisa Semenova, studying at the modern department of the School of Classical Dance of Gennady and Larisa Ledyakh.

https://www.youtube.com/watch?v=FyA2PH95tNE&t=2s

I would welcome  both ABT and ‘Reunited’ artists performances at the Segerstrom.

Just now, volcanohunter said:

I don't know whether it's already been noted here that Chebykina has also left the Mariinsky. Today she performed with the United Ukrainian Ballet in Singapore. 

https://www.instagram.com/p/CjpuDolBUgF/

I wish her much success. I’ve been following her career for years. She has some exceptional qualities. At the beginning she was able to move easily between classical and contemporary. Later her classical became more finely developed and perhaps more predominant. I was thinking that her name might appear among the ‘Reunited’ artists.

(See topic -- United in Dance: Segerstrom - November 11,2022) https://balletalert.invisionzone.com/topic/47214-united-in-dance-segerstrom-november-11-2022/#comment-442622

Maybe another time. I do hope that she finds comfort and reward wherever she is.

This might become an ongoing project and an ongoing company as suggested in this Instagram. This would seem very good. And once again I wonder if Olga Smirova has ever been contacted. She appeared at the Fall for Dance in New York City, Oct. 1& 2.

Apparently the group performed here once before at the beginning of the month in some sort of trial event. I’ve seen no other mention of it.

https://www.instagram.com/p/CjRHTdbtuAi/?igshid=YmMyMTA2M2Y=

(Thanks to FionaE at BalletcoForum)

“….the first public performance of our newly created company of dancers who left Russia & Ukraine is now on sale!!!

The show will be on the 12th November….”

https://www.instagram.com/p/Cjnp4OktiDZ/

The Segerstrom family has always been very supportive of the ballet from Russia. This may be the beginning of a road back to what was something to really look forward to.

Xander Parish

"Both Ukraine and Russia have been a huge part of the lives of the people in our group, many of whom have faced great difficulty with the escalating tension between countries, people and families. We would like to do our part in creating peace and promoting it in our own language of dance.

"We as a group want nothing except for peace and healing between Russia and Ukraine and our performance now is simply born of our desire to be reunited with each other in the love of dance and to share the stage together again, something which looked impossible after we dispersed around the globe. Every dancer in our company has come a long way to be here and we hope you also will join us too."

https://www.instagram.com/p/Cjnp4OktiDZ/

As someone whose attended the Mariinsky International Ballet Festival in Saint Petersburg 17 years in a row I totally support this sentiment.

Thanks for all you detail here, Volcanohunter. I was wondering what would actually happen.

I knew that Eleonora Sevenard graduated the Mariinsky school (the Vaganova), but the Bolshoi site does confirm that she did go directly to the Bolshoi afterwards as you stated.

I hope to be there, so I’ll try to relate how it went. Since I doubt that I’ll be going to Saint Petersburg as usual this year, this sort of thing might be the closest that some of us will get. I join Maps in wishing that other places get to experience it as well.

Xander, as an organiser, did a bit of this while he was still at the Mariinsky. Where he got the time and energy certainly seems impressive. The event should be high quality. It certainly will take on a new significance. How this sort of thing plays out could be very interesting and hopefully rewarding. Adding someone like Olga Smirnova would certainly have an impact.

Here’s a bit more information from the announcement that California posted.

"....dancers from around the world who left Russia following the invasion of Ukraine.... [with the exception of ABT's Christine Shevchenko ( and Alexis Tutunniqueas? no others?) as Volcanohunter pointed out] 

“Led by British-born Artistic Director Xander Parish….

“….the world premiere of a new ballet choreographed by Parish to Tchaikovsky’s Children’s Album

“….a performance of Christopher Wheeldon’s After the Rain; selections from Le Corsaire, Raymond, and Paquita; and more.”

Added: The performance is actually Nov.12, not the 11th. The “11/12” posted in the announcement can be confusing.

In my post from yesterday I briefly mentioned Renata Shakirova and how I would really like to watch her progress. Today a video clip appeared of her October 4th Giselle performance with Kimin Kim. It’s been over a half year since I noticed what I considered a significant, new attraction to her depth of expression. I’ve been waiting for more confirmation. The Giselle video seems to offer this.

From the beginning she’s been noted for her sometimes unequalled physical feats. I’ve also loved her, along with artists such as Maria Iliushkina, for her joyous vibrance. Now something new seems to be happening. At first I considered it a possible mega-step in her handling of drama. Whether it will be that is yet to be seen. What does seem the case is that her depth and poetry of expression may have reached a significant new level. In addition, a further developed dance loveliness is also evident. This is most noticeable in her beautifully lyrical solos and duets. I look forward to seeing where this all leads. As I suggested before, she could become someone very special in a company of artists already famous for being very special.

Kimin Kim, by the way, to my eyes, becomes a more poetic burst of expression with each new performance. Also known, like Renata Shakirova, for his physical prowess (aerial mega-feats, actually), he’s developing a true artistry. It’s been visible from the start, but could eventually take on the dimensions of a Kabuki-style phenomenon. I felt long ago that he could develop into a theatrical star beyond the ballet, and I still think that it’s possible, somewhat in the manner of what Mikhail Baryshnikov attempts from time to time.

In any case, the recent video clip of Renata Shakirova’s and Kimin Kim's Giselle Act II duets, does highlight a very beautiful performance.

The Mariinsky opened its *240th Season* the middle of September.

One series of video clips posted recently has caught my attention. It features Maria Shirinkina, with Andrei Yermakov, in Ratmansky’s Cinderella. Diana Vishneva excelled in this as the first Cinderella and Alina Somova later became my favorite. Many other Mariinsky ballerina’s have also performed it quite well. There is some very beautiful dancing and fine drama in this work.

But once again Maria Shirinkina is showing her developing theatrical prowess very impressively and she emerges as another of the finest of the Cinderellas. I noticed this direction in another video posted last February of her Bluebird Duet performance (Sleeping Beauty) and I recall noticing it even earlier. Similar to Yekaterina Osmolkina, she’s also one of the Mariinsky’s loveliest dancer. The combination of these two qualities, expression and grace, is very noteworthy.

Her theatrical ability, which could be considered ‘acting’, has a very lively quality. It has subtlety, but it also has directness. She brings her character to life with a lot of personality while keeping it believable and flawlessly crafted. This development has been consistent, so I believe that it will make her an even more featured attraction at the Mariinsky as she continues.

I also noticed some very fine and depthful expressiveness awhile ago in the often delightful and more dance-prowessed Renata Shakirova. It was quite a revelation that I thought could make her someone very special. I’ll continue to watch how this might be developing.

All this could be considered part of artistic maturity. Another recent video clip features Viktoria Tereshkina and it also shows how well on many occasions she’s developed expressively over the years.

The new season began in the middle of the month. It opened with several Swan Lakes featuring :: Kovalyova (Lovely), Arina Denisova, whom I’m not familiar with, and Anna Nikulina (Lovely). There were also some more of Grigorovich’s Spartacus along with Ratmansky’s Romeo and Juliet and Balanchine’s Jewels. Grigorovich’s A Legend of Love will be performed next.

Of personal interest, Victoria Brilyeva, whom I always liked at the Mariinsky, is one of the eight background soloists in Diamonds. I continue to wish her much success at the Bolshoi. There isn’t a lot in the way of video, but one of Eleonora Sevenard (formerly Mariinsky) and Artem Ovcharenko in Diamonds was just posted. I followed her more until Alyona Kovalyova’s (Mariinsky school) remarkable grace pretty much eclipsed everything. Eleonora Sevenard does have a nice edge here that works well with Balanchine. Also the charming Anna Tikhomirova is cast as usual in the couples from Emeralds. From an old video she is lovely in this.

Ekaterina Shipulina (now “Working Under Contract”) is still hanging in there, Deflope, with one Mekhmene Banu and one Aegina.

May this season offer a ray of light in the world news landscape and a touch of warmth and beauty.

Correction:  Eleonora Sevenard graduated the Mariinsky school (the Vaganova) but then went directly to the Bolshoi as pointed out in Volcanohunter's following post.

Still watching continuously the two videos in my previous post, I feel more than ever what a wonderfully graceful and perhaps untouchable ballerina Oxana Skorik is.

Yet — somewhat amazingly actually ! — I see a Student on an equal footing with this remarkable Mariinsky Principal Ballerina. Valeria Kuznetsova, or anyone else, may never have the same kind of greatness that Oxana Skorik has, but Valeria Kuznetsova, in her parallel and differently wonderful way, may already, at such a young age, be of similar stature. I do hope that she continues to shine like this and that someday she will also be featured regularly on a great stage such as the Mariinsky’s.

In the For What It’s Worth department.

Of all the ballerinas that I’m watching on the internet, several dominate my attention and one is still a Student and one has just been made an Apprentice. Another is also very young.

The Apprentice — Elisabeth Beyer — ABT, A Touch of Everything

The Student —Valeria Kuznetsova — Perm Ballet School, Grace

The Rising Star — Eva Sergeenkova — Bolshoi, Expression

Of the several videos that I’m watching of Elisabeth Beyer this one charms me at the moment.

In my post before this one I suggested that  the very young Perm Ballet School student, Valeria Kuznetsova, sets the standard for Grace for all young ballerinas and even suggested for all of today’s ballerinas. I continue to feel that her youthful abilities in this area are perhaps unequaled. As for mature ballerinas, I would have to again mention Oxana Skorik as probably being the finest. 

Still, I would not maintain that mature refinement is necessarily the ultimate quality. Emotional effect can be as important as technical prowess. It might just be a matter of personal preference.

Valeria Kuznetsova has remarkably graceful, and overall, abilities, especially for her very young age. She also has a youthful vibrance and spontaneity. Oxana Skorik has overall maturity and all the developed refinement that can result. And totally her own, I once again have to mention her hands, which may be unequaled by any ballet artist, ever.

Here again are two videos to make what I consider a very interesting comparison.

Valeria Kuznetsova

Oxana Skorik

She does stand out.

Hopefully her recent admission to the main American Ballet Theatre company as an Apprentice is the beginning of a trajectory that will gain her wide recognition. She certainly has the talent to deserve this.

Among her many very impressive attributes several stand out for me at the moment. Her jumps have wonderful shape and airiness. Her highlight positioning is regal. As vibrant as she is in dance and presence she also has a remarkable gracefulness which can be seen in the final video where she’s the first dancer.

I would say that she has a remarkable touch of everything that adds up to her being as fine an example of an American ballerina as there is, in the most positive sense, and an equally important one as a ballerina of the World.

Here are some glimpses.

Here she's the first dancer.

This looks rather nice.

I’d like to add this. Is it really that different from all the things that we are writing about at our various topics ?

"I think that this (event) can give people who went through very tragic experiences a certain feeling of freedom, and a feeling that life actually goes on and will be beautiful," Anastasiia Lukoshyna, a 21-year-old student, told Reuters.

Reuters

https://www.insider.com/photos-kyivs-nightlife-slowly-returns-russian-invasion-2022-9

"It was dark, sweaty, loud and wonderful. Here was a country locked in a war that touched every person in the room but still, they were dancing their hearts out."

New York Times

https://www.nytimes.com/2022/07/26/world/asia/kyiv-ukraine-war-nightlife.html

This might not be as off topic as it might seem. 

"Ukraine: How Kyiv's electronic dance culture is defying Putin with beats and baseball bats. Take a look."

[I did think this to say "baseball caps" when I first read it, which is more appealing to me anyway.]

https://www.reuters.com/world/kyiv-ravers-escape-horrors-war-through-music-2022-08-30/

https://www.nytimes.com/2022/07/26/world/asia/kyiv-ukraine-war-nightlife.html

This is from Twitter, if you can get it.

https://www.insider.com/photos-kyivs-nightlife-slowly-returns-russian-invasion-2022-9

Some recent Elisabeth Beyer.

Although I tend to fast forward through the guys, they don’t look too shabby either.

OK.

This is the first that I’ve ever heard of or seen her, but —

Wow !

Elisabeth Beyer

ABT Studio Company  [Correction: She is now an ABT (main company) Apprentice according to the previous post by balletlover08 -- Congratulations ! ]

I'm not sure where else to post this, but here might work and in fact be rather prophetic.

I’d like to elaborate somewhat on my previous post.  There I described the important effect of the placement of her head. What has become even more fascinating is her facial expression which actually seems to direct the rest of her outstandingly graceful physicality. Again, I’ll refer to The Sleeping Beauty video excerpt posted above at the beginning of this topic.

Her face is so vibrant, that you’re immediately drawn to it and perhaps more important, into it. With a change of glance, intensity and direction of regard and even emotion, she actually manipulates the overall image of her entire body. A glance or a smile can change the way that her entire body is perceived. It’s quite remarkable and absolutely lovely.

And I’ll continue to suggest that she sets the standard at the moment for graceful wonder in a young ballerina, perhaps for any ballerina.

I still have to say, Pherank, that Russia was a much friendlier and more appealing place when I arrived there about twenty years ago than I ever could have imagined from all the years of documentaries, news viewing, tourist reports and general conversation. Although I didn’t follow the news that carefully at the time, I would have to attribute a significant part of this to him and the more humanitarian direction that things were moving related to him.

I remember a news report that Gorbachev was at a public event in Russia and a heckler followed him yelling that Gorbachev has destroyed the Soviet Union. Gorbachev turned around and responded, “Remember, I’m the one who gave you the right to say that.” I would guess that there’s got to be some truth there.

As far as the ballet is concerned, the more openness of these times, I think had some very beneficial effects in Russia and worldwide. The world had a chance to become fully acquainted with some of the finest ballet quality ever (the Russian ballet) and the quality level in Russia was reinforced because of the resulting recognition and it was also a chance for the Russian ballet to broaden its horizons.

Just now, Fosca said:

Shouldn't we attribute the opening of the repertoire that happened in the Soviet ballet companies the early 1990s to Gorbachev's glasnost? The premieres of the Ballets Russes pieces like Sheherazade, Spectre de la Rose at the Mariinsky in the 1990s, the first Balanchine pieces in the Mariinsky repertoire (I guess Scotch Symphony was the first)? Would that have been possible without the openness that glasnost brought to the Soviet Union? You may argue that the further opening to Ashton, Neumeier, Forsythe etc. was detrimental to their purity of style, but the Diaghilev ballets were perfect for them, I loved these evenings. And Jewels looks great when danced by the Russians.

 

Good points, Fosca. Thank you.

Something else maybe to consider. Would Ballet Alert!’s forums Kirov-Mariinsky Ballet and Bolshoi Ballet, etc. have nearly the following or the interest, or would even the world’s level of following and interest exist, if it weren’t for these actions.

I can’t really deny or confirm these facts, Volcanohunter, but, yes, this world can be less than perfect at times. About Chernobyl, the New York Times article does say,

“While he equivocated at first, he eventually exposed the nuclear power-plant disaster at Chernobyl to public scrutiny, a display of candor unheard-of in the Soviet Union.” *

I guess one thing that made an immediate impression on me the first time that I went to Russia almost twenty years ago was how different it felt and looked from all the old Stalinist imagery that I grew up with. Folks were much freer behaving, open and attractive. I would go to the Mariinsky, especially the new one, and feel like I was in Lincoln Center. I considered this good, still do, and have to attribute much of this to him.

I probably won’t continue my discussion here if it’s going to drift into pure politics, but part of the good feelings that I always had at the ballet performances and beyond I would also have to at least in part attribute to him.

* Added: The lengthy Times article does offer further on a rather impressive list of things that it considers his very worthwhile accomplishments.

I think that this is probably worth mentioning here. A personal sadness for me, but just one opinion from billions.

From the New York Times

Mikhail S. Gorbachev Reformist Soviet Leader Is Dead at 91

Mr. Gorbachev made no public statement of his own about the war in Ukraine, though his foundation on Feb. 26 called for a “speedy cessation of hostilities.” A friend of his, the radio journalist Aleksei A. Venediktov, said in a July interview that Mr. Gorbachev was “upset” about the war, viewing it as having undermined “his life’s work.”

When he came to power, Mr. Gorbachev was a loyal son of the Communist Party, but one who had come to see things with new eyes. “We cannot live this way any longer,” he told Eduard A. Shevardnadze, who would become his trusted foreign minister, in 1984. Within five years he had overturned much that the party held inviolable.

A man of openness, vision and great vitality…

[And the other side of the coin]

But if Mr. Gorbachev was lionized abroad as having helped change the world — he was awarded the Nobel Peace Prize in 1990 — he was vilified at home as having failed to live up to the promise of economic change. It became widely said that in a free vote, Mr. Gorbachev could be elected president anywhere but the Soviet Union.

https://www.nytimes.com/2022/08/30/world/europe/mikhail-gorbachev-dead.html?campaign_id=190&emc=edit_ufn_20220830&instance_id=70652&nl=updates-from-the-newsroom&regi_id=156452945&segment_id=102784&te=1&user_id=f8301819ca07cba02501493f2f306919

On August 20 she performed again in a Gala for Ukraine. This was in Copenhagen. 

https://www.olgasmirnovaballet.com/dates

One of the participants, conductor Jonathan Brandani, had this to say.

“In moments of darkness and horror, Art is a source of light and hope, because it reminds us that a better world, where people come together in harmony to celebrate Beauty, is indeed possible. I am honored to give support to this Gala, and I hope that peace will soon shine in Ukraine.”

https://imgartists.com/news/angela-gheorghiu-and-jonathan-brandani-feature-in-ukraine-gala-concert-in-copenhagen-20-august-2022/