Buddy

It looks like the third Senior round (final round?) of the XIV Moscow International Ballet Competition might just be beginning. (Thanks to Enya at Dansomanie) https://www.culture.ru/live/broadcast/33958/xiv-mezhdunarodnyi-konkurs-artistov-baleta-iii-tur So far, in terms of classical dance at world competitions, I would say that the quality here is exceptional.

I often view the Rose Adagio, ECat, as a series of technical challenges, usually preferring the beautiful final act duet, but she makes it absolutely dreamlike from beginning to end. I can stay quite happily stuck in her opening jumps. Once again, the word I use is 'floats.' That's what she does. Her back leg at times suspended in motion, she lands and her feet immediately start to flutter as she moves in the opposite direction. This seems so typical of her entire performance. She never seems to completely touch the ground, both in physicality and in aura.

I also find this quite lovely, Canbelto. In addition, I've been watching a recent performance of her Pharaoh's Daughter which might be even more beautiful. I also feel that this Diamonds is not that different from the beautiful treatment that George Balanchine's more lyrically graceful works often receive from other Bolshoi and Mariinsky ballerinas. A favorite of mine is the duet/solo from Symphony in C. I've just watched it performed by Yulia Stepanova (with Artemy Belyakov) and I think that she's absolutely lovely. I've seen a range of performances of this work from the Miami City Ballet's almost 'rocker' version to the most lyrically delicate performance by the Mariinsky. I've really enjoyed them all. Interestingly, my favorite duet/solo version on internet video, out of focus and not available any more, was performed long ago by Svetlana Zakharova. Added: Since you're probably on NY time and won't have read this already I'll mention something else. Thanks to automatic internet video followup I found myself inadvertently launched into Yulia Stepanova's Diamonds, having just completed her Symphony in C, a pleasant surprise. It's a nice contrast to Alyona Kovalyova's performance. Yulia Stepanova's severity of expression is sometimes commented on, but it seemed to work fine here. Still, most important was her highly expressive timing and nuancing of gesture in addition to her overall lovely and embracing sense of motion and beautiful forming of shapes.

Eva Sergeyenkova has been promoted from First Soloist to Leading Soloist, one step away from Principal. Congratulations ! Her ascent has been as rapid as her artistic development. I think that there's little doubt that she'll be the next Bolshoi Principal Ballerina. An active and kind member of BalletAlert! sent me the most recent video of her performing the Rose Adagio from The Sleeping Beauty. Thank you very much. In contrast to all the technical challenges, turns, spins, balances, she's as delicate and vibrantly dreamlike as I've yet seen her. Her opening jumps have a wonderful, linear airiness, true of the entire performance. She has beautifully long lines, very noteworthy for a not very tall person. She once again shows how adaptable she is, presenting a completely new and finely developed character portrayal and nuancing of expression. She has a floating animation of her legs and arms in her jumps. Her vibrant face communicates with her partners and the audience while at the same time being immersed in the dreaminess her of her character. She has lovely classical sculpture of her arms and lovely hands. Lovely lines. Throughout she seems to float. For a moment one of the four princes actually looked delighted to be dancing with her. I think that this might sum up her entire performance. Added: "But that's another side to this life I've been leadin' But that's another side to this life" (by Fred Neil) The Good Side. 🙂

Thanks for your thoughts, Cristian, and understanding response. Yes, we all have our preferences. I'm also a big fan of Natalia Osipova and took to calling the Bolshoi the "Osipova" when I first saw her. I also saw Ashley Bouder blow the stage away at a Mariinsky Festival with her Tarantella. This kind of fireworks doesn't usually happen at the Mariinsky and it was highly appreciated. I also have the feeling from documentaries that I've seen that no one loves ballet more than those who perform it in Cuba. For me, at the moment, Oxana Skorik's use of her hands is the stuff that dreams are made of. And there's much more. So glad to hear that your little (not so little anymore?) girl is doing well, which I hope is also true for you and your entire family.

I think about this one a lot as well, Volcanohunter. Are the Mariinsky and the Bolshoi stuck back in time ? Yet, somehow, being as great as they are, for me, it doesn't really seem to matter. They set a standard of excellence in performance ability. Mozart's creativity is definitely frozen in time, but.... We aren't talking about the exact same thing, I realise, but these are some of my feelings about 'moving forward.'

This seems like a good and healthy perception, Roberta, that I too was thinking about. Art and creativity do cross all sorts of boundaries with all sorts of interconnections and this can bring folks everywhere together in a good and healthy way. Volcanohunter seems quite right in noting that one group might not want to be seen as a stand-in for another, but there also seems to be nothing wrong with being part of a broader identity if it adds to the quality and value of that group. If The State Ballet of Georgia does tour other parts of the US I would look forward to seeing it. And I also greatly look forward to when everyone can once again see all the world's finest companies.

You make a good point here, Volcanohunter. I guess that I'm just concentrating on one aspect of the situation because of today's world conditions.

The several that I've seen, Volcanohunter, Nina Ananiashvili, Xander Parish and Gavriel Heine had all been well integrated into and contributed much to the beauty of the Ballet from Russia.

Good points, Drew. California and occasionally Chicago have done fairly well in getting to see the Mariinsky and the Bolshoi. I would hope that cultural exchanges would resume as soon as possible. Until then, this might cheer you up somewhat, Roberta. The State Ballet of Georgia, Nina Ananiashvili, Artistic Director, will perform at the George Mason University, Fairfax, Virginia, April, 2023. (Thanks to Jeannette at BalletcoForum) Currently associated with the company are Xander Parish (ex-Mariinsky and RB), Laura Fernandez-Gromova (ex Stanislavsky, PoluninInk, and Mariinsky), Oscar Frame (ex-Bolshoi and Astrakhan), Gavriel Heine (formerMariinsky conductor) and others. (Thanks to FionaE at BalletcoForum) Here's more information at the Ballet Alert! "The State Ballet of Georgia" forum. https://balletalert.invisionzone.com/topic/46985-some-russian-ballet-faces-the-state-ballet-of-georgia /#comment-440349

Some former members of the Mariinsky and Bolshoi are now active with The State Ballet of Georgia, Nina Ananiashvili (formerly Bolshoi, etc), Artistic Director. Currently associated with the company are Xander Parish (ex-Mariinsky and RB), Laura Fernandez-Gromova (ex Stanislavsky, PoluninInk, and Mariinsky), Oscar Frame (ex-Bolshoi and Astrakhan), Gavriel Heine (former Mariinsky conductor) and others. "Our next performance - "Romeo and Juliet" will be held on June 11,12,15 at 19.00. The leading roles: 11.06 - Nino Samadashvili and Oscar Frame; 12.06 - World Ballet star Xander Parish and Laura Fernandez: 15.06 - Ekaterine Surmava and Andrii Havryliuk. Tbilisi Opera and Ballet State Theatre Orchestra will be conducted by guest Conductor Gavriel Heine (USA)." https://tkt.ge/show/10451/romeo-da-julieta Also Xander, Laura, Oscar, Anastasia Demidova (ex-Mariinsky), choreographer Ilia Jivoy (ex-Mariinsky) and his wife, Sophia Vartanyan (costumes) are preparing a new work. A brief video clip of Xander Parish and Laura Fernandez Gromova rehearsing Romeo and Juliet in Tbilisi. https://www.instagram.com/tv/CeO6KuGIc2m/?igshid=NmZiMzY2Mjc= (Thanks to FionaE at BalletcoForum for all the above) The company is also scheduled to be at the at the George Mason University, Fairfax, Virginia, April, 2023. This might be part of a larger tour of the US.(Thanks to Jeannette at BalletcoForum). https://cfa.calendar.gmu.edu/state-ballet-of-georgia/

It's official -- Alyona Kovalyova and Egor Gerashchenko have been made Principals. https://2011.bolshoi.ru/en/persons/ballet/soloist/ This news was relayed to me by Mnacenani, who started this topic, (Thank you) and discussed at the ballet forum in Russia Monday, but I didn't want to post anything until it was documented. She's perhaps the most beautifully graceful dancer at the Bolshoi today. Her Vaganova (Mariinsky school) loveliness is very evident. Congratulations to her.

Hi again, Cristian, and thanks for your thoughts and comments. I've also seen her perform technical 'glitches' along the way but she seems to be well past that as she's gained much confidence over the years. I've seen some of the greats, and just some of my favorites, have their 'spells' but, for me, what's so overriding is their overall qualities. Hope all is well with you and your little girl and all your family. I also hope that you continue to see some great ballet.

I've seen her about thirty times live, Drew, and when it gets down to the pure grace and loveliness of her dancing I find her to be quite wonderful. Have I said that before ? 🙂 I do hope that you get to see many more performances of those that you really like in the years to come. Added: Hi Cristian !

I have to agree with Buddy. I find her quite beautiful. 🙂

Hands like Angel's Wings She is, perhaps, the most beautiful ballerina in the world today. At her artistic essence is the pure beauty of her dance. I don't normally post videos unless they're 'officially' offered. This one I believe can be considered to be. Other videos probably show much better detail, especially of the remarkable use of her hands. This is certainly one of the most beautiful works that she performs -- Fokine's "The Swan". https://www.youtube.com/watch?v=Bf9AqDajr_0&t=38s

Ah yes, those limbs, ECat ! And at the ends of her upper ones are her.... Yep! Hands. It's in fact been rumored that her Hands are actually some sort of angel's wings that actually control the rest of her body. 🙂

Yes, they're all very fine, ECat. After not viewing it for awhile, I watched the video mentioned last month from about a year-and-a-half ago of Oxana Skorik performing Fokine's "The Swan" at a Mariinsky gala. My goodness, what a beautiful performance that is ! When she combines her beauty of dance, which I consider to be perhaps the finest in ballet today, with a sympathetic commitment to expression, which she does here, I have to say once again that she could well be my favorite ballerina in the world today.

I do agree with you and thank you both for this interesting and informative discussion. "....a very forward sort of confidence" is certainly key, for me, in everything that she does. I've felt from the beginning, based on the little that I've seen of Hans van Manen's works, that they're another good example of successfully combining 'classical' and 'modern.' This might be what makes it so appealing to Olga Smirnova, and perhaps an essential step in her ongoing development. But, as for certain specifics and apparent overall orientation of Hans van Manen, from viewing the second video clip, I do have to say that such things as grabbing a woman by her throat as a technical manuever, are an absolute No, No ! I've also felt similarly about Jean-Christophe Maillot's "Taming of The Shrew" which Olga Smirnova has appeared in. For me, the charm of her character was fortunately far removed from a lot of the other stuff. In addition to the importance of what both of you have expressed, I'm always watching for an overall direction for Olga Smirnova. Is she really out to master and be identified with someone else's way of doing something or is she further developing her own artistic range, which is quite impressive. She's so well schooled and proficient in Russian fineness and also has taken lessons and expressed a desire to make an appearance at the Paris Opera Ballet, the bastion, I believe, of perfected footwork, that it seems that she'll always be a one of a kind in regard to 'style.' I could see her performing with any company, shining with and enhancing the appearance of that company's approach, without actually being a 'purist' at it. This could certainly apply to her presence at the Dutch National Ballet. I think of other transplanted dancers such as Nina Ananashvili and Veronika Part at ABT or Natalia Osipova at the Royal Ballet. All have been highly successful because of their own personal approach. I can also see the day, way in the future, when any dancer's physical capabilities become more demanding, that she'll possibly gravitate quite impressively into theater. Yet, for the moment, she remains, for me, a compelling study. She's exceptional with her refined beauty of dance and also with a more expansive range of inner expression. How she combines this could be fascinating and wonderful to see. By the way, I already feel much the same about the Bolshoi's very young, Eva Sergeyenkova, whom I've been writing an almost identical description of at her topic.

Not meant to be over the top, but dedicated to 'The Ballet' from Russia. "Oh, tell me where, the answer lies" "It's a lover's question I'd like to know." "When Will I See You Again" https://www.youtube.com/watch?v=5OpuZzsPBhQ Soon I hope.

I've watched Claudia Schreier's Pleiades Dances several times since Drew mentioned it elsewhere yesterday. I think that it's very good and very entertaining. Here's Drew's post again with the videos. "But I'm mostly writing to say that I have very much liked Claudia Schreier's work for Atlanta Ballet. Her ballet, First Impulse was on the program at the last ballet performance I attended live. That was its premier season--and a nourishing memory since then for my starved ballet soul. In the meanwhile Atlanta hired her as resident choreographer and then....Covid upended the next season. However, during the Pandemic she did still create Pleiades Dances for them and the company performed it as part of an outdoor engagement in March 2021 (dancers were masked though you can hardly tell on the video the company posted on Vimeo). "When I watched it, I thought Pleiades Dances a bit less distinctive than First Impulse, probably because I was watching it on video, but perhaps also because it seemed to me a little less neo-classical and thus more like other new choreography than First impulse. I still found it very engaging. And of course most of Pleiades Dances had to be created via Zoom. (In Atlanta Pleiades Dances has been done this year as part of a regular repertory program in the theater but I did not attend those performances.) I plan to watch it again. "I'll add that I have found Schreier's choices of music both wonderful and unexpected -- I could wish Justin Peck had similar taste. From what I read on her website, she has been choreographing for a while, but it is still relatively early in her career; at this point I am eager to see (or read about) whatever she does. "Below are two links--very brief video of First Impulse (whose diagonals I take as an allusion to Balanchine's Symphony in Three Movements) and below that, Pleiades Dances in its entirety as that was posted as part of the Pandemic conditions of its premier. Of course, you can also find other snippets of her work on youtube:"

This is how the Mariinsky would do it from Maxim Petrov, who's also choreographed for the Atlanta Ballet. (Start video at the 129:30 (to 1:34:20)) 😊 https://www.youtube.com/watch?v=vXILEnsBSrY

I like these both very much, Drew. They're inventive and very entertaining. I look forward to watching them again. Thank you.

I'd rather be "Dancing on the Front Porch of Heaven" than "Waiting at the Station," but for Twyla Tharp I'll do it. 🙂 Thanks, Helene.

Thanks, Helene and Everyone. Like many, I haven't been to a performance in over two years. Wanting to visit my family in Philadelphia, I've arranged it so that I can see some stuff in NYC as well. I've got a ton of ABT Swan Lakes and an ABT Ratmansky the night before. With only Sunday, June 26, left, Voila! Dancing on the Front Porch of Heaven (Odes to Love and Loss) – by Uysses Dove Plot Point – by Crystal Pite Waiting at the Station – by Twyla Tharp I've never seen PNB so I'm greatly looking forward to this.