Buddy

It’s probably good to remember that these works have been fine-tuned over decades or more. To make abrupt changes, even for modern standards of social rightness, should be dealt with sensitively. This might apply to 'historic restorations' as well. These are great works of art. Also, as much as some of the major world companies like to consider themselves adaptively modern, their strength mainly lies in the classics, derivatives of the classics and the classical sense of beauty. For me, this has been true of ABT. I, personally, would like to see most of La Bayadere kept in tact, but could live with only the Jardin Animé and a duet or two, such as the Ali/Medora one, from Le Corsaire. I also feel that certain questionable elements and scenes have been treated differently, often quite successfully, by different companies and performing artists, without changing the major fabric. Added: The one world-class company that’s been the most successful, that I’m familiar with, in moving between ‘modern’ and ‘classical’ is the Miami City Ballet. It might be a good example for other companies wanting to broaden their scope, but there’s still nothing wrong with acknowledging and respecting the value of ‘classical’ works and ‘classical’ beauty.

A cute anecdote, maybe, California. Around the same time I’d been reading about the still somewhat unknown Natalia Osipova. I was at a performance where she had a very secondary segment, but was she good ! I let out an enthusiastic ‘applause’ and the famous lead ballerina, left unnamed, sneaked a look over in my direction with a huge “What!” sort of expression on her face.

Thank you very much, Helene and Nanushka, for this very nice news. If she's representative of the 'new, post virus' ABT and based on what I saw in June, the company looks very good.

I did watch both performances and enjoyed the second time perhaps even more than the first. What made them so enjoyable was the very relaxed and friendly atmosphere along with some very fine dancing. From the little that I could find out from listening, this seems to be a summer program (50 dancers this year) from many different places. Perhaps most noticeable is the leeway given to different body size, etc. ABT’s Chloe Misseldine once again performed beautifully and proficiently with Roddy Doble, who studied both at the School of American Ballet and the Jacqueline Kennedy Onassis School and now dances with Les Grands Ballets Canadiens. Chloe’s mother had danced with the Boca Ballet Theatre and ABT. I’m not sure if Chloe danced with the Theatre before. What the connection is between such prominent ABT Principals as Devon Teuscher and Skylar Brandt and the Boca Ballet Theatre I don’t know, but it seems to be a very nice one.

I thought that I could drop this in here. Chloe Misseldine I just finished watching two performances of The Sleeping Beauty, broadcast live on the internet by the Boca Ballet Theatre. They were supposed to feature Devon Teuscher, but because of an injury she asked ABT’s Chloe Misseldine to take her place at the last minute. I thought that she gave two excellent performances. I assumed that she was a Soloist until I checked ABT’s site and found out that she’s still in the Corps de Ballet. She has a very fine stage presence and seems particularly good at demanding (and high energy) spins and balances, which are the highlight of Act II. She seemed totally confident and proficient in very difficult looking lifts with partners that she’s never danced with before. Above all, she’s a very fine and beautiful dancer. I hope that she gets much recognition and I wish her much success.

I just finished watching the performance and thought that it was delightful ! Chloe Misseldine from ABT substituted for Devon Teuscher (injury, I wish her well) on several days notice and was both excellent and delightful ! Forgive me for not knowing who the ABT Desiré was, but he did very well and was a fine and secure partner. I look forward to watching it again tomorrow. To view it tomorrow at 2:00 pm ET ($27): https://bocaballettheatrecompany.anywhereseat.com/channel.php

I’d like to include this one now because I think that it gives a much better sense of her use of detail, which the previous Swan Lake duet video doesn’t because of the large distance away that it was filmed. This is a Paquita excerpt from about a year-and-a-half ago. I would call attention to the very expressive, highly artistic and inventive use of her hands, arms and to a more limited extent, her head. Her facial expression isn’t nearly as developed as in the Swan Lake video, which can’t really be seen. Her remarkable body positioning can be seen in the Swan Lake video, but because of the distance filmed losses some of the impact that the detail adds. https://www.instagram.com/p/CLkPbyOgXDN/?hl=en (posted at her Instagram site)

Well, here’s what the fuss is about. It’s what I’ve been writing about and watching for over a week. It’s her White Swan duet with Semyon Chudin photographed from quite a distance. There’s a much better non-official filming on the internet, but this one is from her Instagram site so I’m posting it. What’s missing because of the long distance is the detail which is extremely important, but anything that hints at what I feel and believe is the wonderfulness of this performance is much better than nothing. https://www.instagram.com/p/CgdSG0StIuI/?hl=en

And please allow me one more, which I overlooked yesterday. The shapes that she forms with her entire body are statements of the highest artistry and emotional content. What about Genius ? One thing that’s very noticeable and describable is her craftsmanship. This is where the concept of possible genius is perhaps most visible. It’s not the use of her feminine attraction, her beauty of motion or her inner vision which are much harder to define as greatness, but her physical structuring, the placement and/or shapes of her hands, arms and head, for instance. It’s a structural craftsmanship that’s just as visible as the composition of a Michelangelo or the brushstroke of a Rembrandt.

Once again I find myself wanting to write about Eva Sergeyenkova because, quite simply, she’s the Most Interesting ballet artist that I follow at the moment. Olga Smirnova could be another, but there’s no new video. She should become even more fascinating than she has been, but we may have to wait to get a view of it. From recent video clips of Eva Sergeyenkova, mainly her remarkable White Swan duet, which I consider a primary reference for the entire art form, she is remarkable. What attracts me most at the moment is her detail. For one thing, she creates shapes and motions that are one-of-a-kind masterpieces. Not only are they original, but they’re brilliantly crafted and beautiful. They work extremely well. Swan Lake becomes a canvas, as it does for many of the world’s greatest ballerinas, to create their own personal wonder. This is performed against a character backdrop of compelling imagery and feeling. She has a goddess-like surety, an undefinable depth, and a breathtaking, emotional loveliness. And let not forget her age ! She’s only 18 or 19. So I’ll return again briefly to what captures my interest most at the moment and that’s detail. The shapes that she forms with her arms and hands, for instance, vary from abstract compositions of Picasso-like interest to statements of pure emotion. The forming of these is a journey that’s equally embracing. And, above all, it ties together seamlessly and compellingly. Catch her now while you can because tomorrow she may be inhabiting some other different but equally wondrous universe of ballet artistry.

I just watched a video clip of one of her recent performances. She’s so lovely an artist and I’m rather happy for her being made a Principal. It doesn’t seem that long ago that she was accepted to the Bolshoi after being refused at the Mariinsky (upon graduating its school as a distinguished student) because she was too tall (it’s said) and not certain of finding any good company. She’s probably been slightly accelerated to the top because of the very sad departure of Olga Smirnova with the extremely young and highly talented Eva Sergeyenkova most likely to be promoted as well. Yet, she seems to be fitting into her new prominence with a youthful surety and delicate fineness that will certainly be contrasted to the multidimensional artistry and excitement that Eva Sergeyenkova will offer.

To rely on description can sometimes reduce the effect. So a fulfilling approach can be to sit back and simply take it all in without trying to explain. With Eva Sergeyenkova, this works very well for me, anyway. Since we are intellectual beings and because it makes it more tangible, we will of course also try to explain. A major part of what Eva Sergeyenkova does, for me, remains beyond explanation and definition. It’s her character. Who is she ? She has a very powerful presence that I can’t define and it’s the source of all that she does. As far as physical detail is concerned, one key to her remarkable artistry is Invention, but this would seem to be too unfeeling a word. There’s heart and soul at the core. For instance, in the invention of shapes, the interweaving of brilliant abstraction and deep emotion. It all seems so natural, yet it would appear that an immense amount of thought and preparation are involved. Her abstract beauty and invention are brilliant, perhaps even genius, and fascinating. Her depth of character and feeling are the basis for art and expression at its most Embraceable.

"The trajectory of her career," indeed, ECat. For me to write about Eva Sergeyenkova is like trying to describe the air. She seems to grow and change with each new performance, reveal something new with each viewing. The one thing that remains constant is that she amazes. For me, at this point in time, she’s almost on another planet. Only Olga Smirnova affects me in a similar way. So I return to another viewing of her White Swan duet. Her images are almost spellbinding, both in sculpture and in motion. They are also stand-alone works of museum quality art. Her ‘persona,’ the identity that she describes with her artistry, is remarkable. At a very young age she already has the capacity to be a Poetic and Artistic Wonder.

Sometimes a bit of sunshine is really appreciated. Elizaveta Kokoreva, with Igor Tsvirko, appeared yesterday in Don Quixote. For me, the amazing Eva Sergeyenkova has eclipsed everything. Both these young artists were recently promoted to Leading Soloists. Videos have appeared of the vibrant Elizaveta Kokoreva’s Kitri (Don Quixote) and they are a pleasant reminder that she’s there as well.

In my previous post I mentioned the young Anastasia Plotnikova (Corps de Ballet) and her resemblance, both dance-wise (lovely gracefulness) and career-wise (time being spent in the Corps de Ballet) to Maria Iliushkina. Her repertoire includes Mona (Giselle), whereas I first noticed Maria Iliushkina as Zulma (Giselle) about six years ago. She’s now appearing twice as one of the Three Shades (La Bayadere) while Maria Iliushkina is the lead, Nikiya. Again, I would like to see if any more parallels develop. She’s a lovely young dancer, whom I hope enjoys some of the same success that Maria Iliushkina has. https://www.mariinsky.ru/en/company/ballet/troupe/corps/plotnikova1/ Does anyone know what’s happened to the young Vaganova star graduate, Lizi Avsajanishvili ? All these young dancers are part of a continuum of remarkable beauty that distinguishes the Mariinsky and rewards viewers such as myself with a feeling of elevation, appreciation and warm gratitude.

So let’s take a look at the really younger generation. There are now three Ballet Troupe Trainees. Maria Koshkareva Yaroslavna Kuprina Anastasiya Zinchenko (no videos) Maria Koshkareva is by far the most high profile having already performed at least one lead role with the Mariinsky. Another young dancer, Anastasia Plotnikova, two years in the Corps de Ballet, continues to capture my attention. For me, there’s sort of a Maria Khoreva/Maria Iliushkina resemblance. Maria Koshkareva, like Maria Khoreva, had almost immediate recognition. Anastasia Plotnikova remains, like Maria Iliushkina did, in the Corps de Ballet. I would also say that Maria Khoreva and Maria Koshkareva are more expansive, whereas Maria Iliushkina and Anastasia Plotnikova are more quietly graceful. Let’s see how this comparison develops. One other name that I would like to mention from the Moscow Ballet Competition is Valeria Kuznetsova (Perm school). She has no connection at the moment with the Vaganova or Mariinsky, but I wish that she did, although being associated with the Perm Ballet is also a very impressive and desirable situation. (Three of these videos have been officially posted at the Moscow Ballet Competition site and Anastasia Plotnikova’s was posted by herself) https://moscowballetcompetition.com/en/video/

Volcanohunter, I would have to totally agree with you about the tragedies that are occurring. I can only do what Alyona Kovalyova has done and wish with all my heart that things like this stop happening — everywhere. One alternative to this sort of thing is the arts, and this is probably where we should focus our attention as much as possible at this Forum, which also seems to be consistent with the feelings expressed by Alyona Kovalyova. So I will call attention again to what a beautiful artist that I believe that she is, along with being a kind and caring person, which can hopefully be sensed as well in her lovely artistry.

From a recent instagram from Alena Kovaleva. (Thanks to Estreiiita at BalletcoForum) “Hope, we will return to that reality soon 🙏🏻 With all my soul praying and (as on the photo)) reaching for the brighter future, where the World is living in peace and is open for everyone again 🕊” Xander Parish, by the way, is still listed as a Mariinsky Principal Dancer, which makes one hope for the better as well.

I saw two of those Veronika Part Auroras, Aurora, and I thought that she was excellent. If you're good enough you can probably make your own rules.

Being another California resident, Josette, if they'd like to throw a few Swan Lakes into the mix, that would be more than wonderful by me. 😊

I agree ECat — “versatile” and “sparkles.” I’ll go back to what I’ve mentioned before. I would say both “versatile” and proficient. I saw her debut of Swan Lake and it was as if she’d been dancing it all her life. Can you “sparkle” in Swan Lake ? The day before I left Saint Petersburg because the virus was shutting everything down, I did see her perform a second Swan Lake and it was almost joyful — and it worked ! There are going to be a lot of prominent new faces along with Nadezhda Batoeva’s. Viktoria Tereshkina is already beginning to teach, for instance. I would say that Maria Iliushkina will be the most prominent for pure loveliness and refinement, carrying on the recent tradition of one of the finest ever, Ulyana Lopatkina, now featuring Oxana Skorik, and sharing this spotlight with the Bolshoi’s Vaganova graduate, Alyona Kovalyova. I see no one on the horizon to come close to replacing Yekaterina Kondaurova in overall versatility and adaptability. She can dance anything — and brilliantly ! May she continue to dance forever and ever ! 😊 Renata Shakirova and Maria Khoreva do have a fine range, but Yekaterina Kondaurova is very, very special. Nadezhda Batoeva may well be the company’s next Viktoria Tereshkina in many respects. She also has a certain spark and excitement of personality, along with her proficiency, that should make her very special and enjoyable. Maria Khoreva may quite possibly be the most interesting because of her remarkably talent, adaptability and invention. Renata Shakirova is loveable along with having very impressive prowess and adaptability. Maria Bulanova should shine brilliantly with wonderful personality. And all these artists could develop noticeably as their careers progress allowing for some very impressive and exciting, even heartwarming, surprises.

I’ve returned once again to the Skylar Brandt White Swan Duet video with the Boca Ballet Theatre, which I consider to be a fairly good representation of her ABT debut, after watching a number of videos of young Mariinsky hopefuls. Whereas the Mariinsky dancers remain unequaled, for me, in refinement and dreamlike beauty, Skylar Brandt, who also dances beautifully, stands out for something different. Her power of inner expression, most noticeable in her face, is totally her own and perhaps unequaled by any other ballerina that I’ve seen in the genuineness of its intensity. Also very impressive to me, in this viewing, is the structuring of her motion. It modulates back and forth between being powerfully expressive and ethereal. It’s an extremely effective combination. These qualities, I believe, make her someone quite remarkable, a one-of-a-kind, who I feel will stand out as being Someone Very Special indeed. In regard to TheAccidentalBalletomane's previous post I do look forward to seeing Catherine Hurlin as well. Added comment: I could probably carry on an equal, but different, sort of rave about Devon Teuscher’s wonderfully beautiful performance if I had a similar video record.

These several videos posted by the Mariinsky probably give a nice introduction to the ’next generation’ of ballerinas. Nadezhda Batoeva (debut) followed by Maria Khoreva (debut) (The Legend of Love) Renata Shakirova (debut) (La Bayadere) Maria Iliushkina (with Nikita Korneyev) (Raymonda) Also I’d like to include this one of Maria Shirinkina (with her husband Vladimir Shklyarov) to show how ‘the present’ continues to grow in artistry and sensitivity. (The Young Lady and the Hooligan) This is followed by Anastasia Lukina (’new generation’) with Kimin Kim (Leningrad Symphony). Maria Bulanova would certainly be another name to keep an eye on.

(Thanks to CatherineS at Dansomanie)

Thanks, Naomikage. Congratulations to her ! Some photos. https://www.instagram.com/p/Cf2F9vAtS6Q/ (Thanks to Sophia at Dansomanie)