Buddy

Kamila Valieva.... and to Torvill and Dean's music. Nice tribute. Congratulations.

I’m very sorry to hear another confirmation of this, Mashinka. If this is indeed his prevalent behavior, with no ill-will intended, maybe it’s time for him to reconsider this sort of thing. In further regard to Eva Sergeyenkova, in my opinion and apparently many others’, but apparently not everyone’s, in her very special way, she’s a very, very lovely artist.

We interrupt Tom47, “Ragtime and More” briefly (see following topic) . From me, it’s a package deal this week. Pot-Pourri (Banda Cover versão completa) - Rivers of Babylon - Sugar Sugar - More Than I Can Say - Forever and Ever - Mississippi - Guantanamera - Kiss Me, Honey Honey, Kiss Me - Jeany Ich Brauch' Dich

I also like what I’ve seen of Anna Tikhomirova, very much, Drew. I can remember older videos with the Mariinsky Corps de Ballet. One, I believe, featured Alla Sizova in The Sleeping Beauty. In particular segments The Corps de Ballet had a vibrance, a special something, that I’ve hardly ever seen since. It was wonderful. But — I’ve also seen many, many wonderful performances by today’s Bolshoi and Mariinsky Corps de Ballet. They’re just different. As for Eva Sergeyenkova, I’m in awe of what she’s capable of doing.

And I just watched Eva Sergeyenkova’s “Diamonds” (with Artemy Belyakov) and it also “knocked my socks off.” Thanks very much to the person who sent it to me. Yes, there may be some stretching and such in her physicality, but for me it just reinforces the magnificence of her overall statement. I have to describe it as A Heart and Soul performance of the highest calibre.

And still my idol !

I do agree with you. Why do you suppose that the Women's Figure Skating is the premier event of the Winter Olympics, Dirac ? Perhaps related: It is interesting to hear men cheering on a ballerina at a performance in Russia with the same kind of enthusiasm that you might expect at a football game.

I’m so glad that you like it, Dirac. I think that this clip is absolutely charming ! Disney at its best. There’s another movie, Leap (english) / Ballerina (french), that does have delightful dance related sequences that can be found on the internet in unofficial clips. I think that this can be considered an authorised posting.

Thanks, Naomikage, for your thoughts. I guess that we just place different values and different ideas about beauty on different elements. Fair enough. It’s official. I actually thought that it was a bigger jump than it was. I didn’t realise that the Bolshoi doesn’t have a Coryphee level above Corps de Ballet like the Mariinsky and forgot about Leading Soloists (a step above First Soloists). Still impressive. https://2011.bolshoi.ru/en/persons/ballet/soloist/ (thanks to Enya at Dansomanie)

Eva Sergeyenkova just promoted to First Soloist ! ( from Corps de Ballet ! ) Congratulations ! Google translation: “Eva Sergeenkova is the first soloist of the Bolshoi Ballet. Congratulations ! And on George Balanchine's birthday after the ballet Jewels.” https://www.instagram.com/p/CZCzAdMofRs/ (Bolshoi media personage Katerina Novikova Instagram) (thanks to posts at BalletcoForum and Dansomanie )

Some more musings about the 2021 student/2022 Odette-Odile, Eva Sergeyenkova. Some, I suppose, start by watching the feet. Since this is dance, this is perfectly reasonable, perhaps most meaningful for them. I tend to start more by watching the face. It’s all a matter of personal preference. With Eva Sergeyenkova, the face remains primary for me. Whereas Olga Smirnova, whom I consider an excellent dramatist, seems to be constantly aware of her effect on the audience, Eva Sergeyenkova, often, with a seemingly total lack of self-consciousness, goes deep within herself. At her best, she presents a wonderful sort of inner expression. I remember Wendy Whelan once being quoted as saying that the thing that she prizes most is when she finds that inner place during an elevated performance where the audience completely disappears. As much as I enjoy female solos, in Swan Lake for instance, it’s always the Duet that I find most embracing. Yet, for the first time that I can recall, the solo following the White Swan duet, as performed by Eva Sergeyenkova, is perhaps even more compelling. Here she seems to have the chance to completely enter her own private world of self-discovery and self-expression. The result is a one-of-a-kind artistic depth and loveliness. Her dance prowess and dance beauty, in my opinion, are used to reinforce this. So, if she’s indeed on her way to becoming one of the great phenomena of the ballet world, why is it ? She’s extremely mature for her age and I think that one result is the development of her inner self and this may be the answer. I would say that two of the greatest, Anna Pavlova and Galina Ulanova, might be considered transcendant in their expression. Olga Smirnova might be considered a mistress of the real world. Eva Sergeyenkova, in her development, might become the mistress of the inner self, the inner beauty. It will be interesting to see. Added: Again, this quote from the ballet company’s Artistic Director, Makhar Vaziev. (Google translation) “This is her determination, this sharpness in the profession, she wants to find herself in this image, and she does this not for show, but this is a need for her.” Added added: Related to this: “What is the difference between an actor and a dancer in regard to ‘portrayal’ ?” An actor is often trying to most realistically present a character. A dancer, such as a ballet dancer, is perhaps trying more to present and express an ideal. A respected choreographer once said that his job was to make dancers look like gods and goddesses.

I was at the skating rink last week and saw a young girl doing triple loops. Her mother said that she does a triple lutz/triple loop combination. I was in awe. Still, I’m a big fan of the Michelle Kwan/Sasha Cohen days when artistry was prevalent and the Women’s Figure Skating was the most popular event at the Olympics. Somewhere along the line it fell out of prime time and this year Pairs gets Saturday evening. And somewhere along the line I became a ballet fan. I still prize the artistry and really enjoy seeing it performed on the ice.

Thanks, On Pointe. I recalled a discussion, but couldn’t find it. I would hope that perceptions are changing because of talent such as this. I think that they might be.

I was in the process of trying to define Eva Sergeyenkova, when one of our Ballet Alert! friends sent me a video clip of her recent White Swan duet (Swan Lake), which is very informative and also changes my perception. Based on a video clip of her Paquita performance from about a half year ago I was really going to emphasize ’Subtlety’ as a key element. The Swan Lake video, on the other hand, shows some of the most expressive physicality that I’ve seen in the White Swan duet. It’s done with fine artistry and refinement, but it also involves some of the most ‘expanded shaping’ that I’ve yet seen in this duet. An example is that in the partner supported laybacks she twists her upper body more outwardly sidewise than I’ve yet seen. It’s very dramatically effective and also quite beautiful. I think that it defines this aspect of her style very well. On the other hand, I’m very fond of her more relaxed and subtle physicality as seen in the Paquita video. Here is what I had written. “In searching for what makes this young artist so special to many, the word Subtlety seems very important. As with many artists, their substance is not easily apparent. Maybe you just sense it. I believe that Natalia Makarova coined the famous expression, “Limbs that sing.” This seems like more of a ‘beyond human basics’ ideal, an expression of music and musicality, something in the atmosphere. With Eva Sergeyenkova lines and motion are also very beautiful, but perhaps in a more human way — to express human Poetry. Her very distinct physicality is used to reinforce the story and the ‘dream’ that she’s living and relating. She has willowy lines and motion along with an expressive physicality. She doesn’t seem to be a very tall lady, but her long limbs and outreaching manner make her appear much taller. In regard to her aspirations, she says in a video, “So many roles that I would like to perform and to live them through onstage.” “ So I’ll be most interested to see how she develops and what she choses to emphasis. Her more dramatically sculptural approach is very exciting and beautiful, but I have to say that I’m very fond of her more subtle and airily poetic approach. Added: On further viewing, what’s intriguing about her White Swan duet is how dominant her inner calm and reflection remain (most noticeable in her facial expression) within her sculpturally expansive dance prowess. Based on this video presentation, which I usually find to be a diminished quality representation of the live one, this is certainly one of the finest White Swan duets that I’ve ever seen. The balancing of physical drama with artistic fineness and then with such a depth of inner reflection is really quite wonderful. Again, here are some glimpses of her Paquita performance that I posted above with her inner poetry perhaps most evident in the last few seconds. https://www.youtube.com/watch?v=8_Am_wmNPTk

I’m not very familiar with the workings of this competition/presentation, but it appears that something will be happening in March in Indianapolis. https://yagp.org/events/yagp-2022-indianapolis-in/ What I am sure of is that I find this young winner from last year to be quite lovely. Added: I found out later that her music cut out after 30 seconds, but she won anyway.

Thanks very much for your thoughts, ECat. I also watched a video clip of Eva Sergeyenkova’s recent Odette which also included some of her Odile. Of all the clips that I’ve seen of her, this one shows the most development of character. She once again goes deep inside herself and not only produces something very personal, but also fascinating. I most enjoy her Odette type renderings, which I find to be heart touchingly loveable.

With all intended respect for the opinions and points of view of others, could I please offer mine about Eva Sergeyenkova. For me, as with many Bolshoi artists, expression can be critical. New to me, after maybe two hours of video viewing, Eva Sergeyenkova appears quite remarkable. She doesn’t always exhibit the dance aesthetic that many prize, but to my eye it’s quite effective and beautiful. Most important is her substance. She has a loveable and heart touching manner that comes from deep within and is translated admirably into her personally nuanced and finely crafted dance vocabulary. This is a video glimpse that I’ll post because it’s officially released by the Bolshoi. She mainly appears in the white dress with the “V”. https://www.youtube.com/watch?v=8_Am_wmNPTk This is an intentionally sympathetic documentary posted by its creator, “La Personne”, the artistically noteworthy, online ballet ‘magazine’ from Russia. At 5:55 there’s a 20 second glimpse that I like very much. https://www.youtube.com/watch?v=X3I4dQ2F0Y4 I greatly look forward to seeing her perform and wish her a very rewarding future.

Hold on to your seatbelts ! After just posting above about the young Elizaveta Kokoreva, along comes — Eva Sergeyenkova. Yesterday, Friday, 18 year old Eva Sergeyenkova (Corps de Ballet), first season at the Bolshoi, debuted as Odette/Odile (Swan Lake). Artemy Belyaov was her partner. Congratulations to her ! Google translation: “Such debuts are rare, according to the artistic director of the Bolshoi Ballet Company Makhar Vaziev. It was not just the stars that came together, but the possibilities and abilities, physics, mentality. “This is her determination, this sharpness in the profession, she wants to find herself in this image, and she does this not for show, but this is a need for her,” explained Mahar Vaziev, artistic director of the Bolshoi Ballet Company.” “ “A very hardworking student and ballerina. I don’t know when she gets tired and if she gets tired at all. She never shows or speaks,” said teacher-repetiteur, People’s Artist of Russia Maria Allash.” “Fragile, but strong, that's what they say about Eva in the Bolshoi.” https://smotrim.ru/article/2663913? Google translate: https://translate.google.com (Thanks to Sophia at Dansomanie)

While looking through some videos of young Mariinsky and Bolshoi dancers, I wound up at the Mariinsky’s Anastasia Plotnikova’s 2019 YGAP performance. Then I recalled another YGAP name, Bella Jones. I watched the two following videos (posted by YGAP). In addition to Anastasia Plotnikova saying elsewhere how different classical and contemporary are, and if alongside two of the most promising young dancers in Russia, I was highly impressed by the very young Bella Jones, then I have to say that “ I’m Highly Impressed ! “ I wish her much success. https://www.youtube.com/watch?v=m_PC5CCNf-k https://www.youtube.com/watch?v=j-wHAxwk-gE Added: She just turned 14.

Drew, I would guess that you’ll see this one as well. Since you like the Bolshoi’s young Elizaveta Kokoreva as much as you do, you might also enjoy the Mariinsky’s even younger Anastasia Plotnikova who’s still in the Corps de Ballet. From my limited video viewing, she’s the Mariinsky’s answer to Elizaveta Kokoreva. Whereas Elizaveta Kokoreva is perhaps more technically ‘dazzling,’ as you might expect at the Bolshoi, Anastasia Plotnikova is pure ‘loveliness.’ Why I think of them together, besides their young ages and fine talent, is that they are both ‘Pure Sunshine.’ Added: This is the only ‘official’ video (posted by herself). It's from about two-and-a-half years ago. I would say that she's more graceful now and has put on a little more weight, which is nice. https://www.youtube.com/watch?v=XHK8H181cr4

The ‘luminous’ and highly talented Elizaveta Kokoreva has been promoted to First Soloist. (Thanks to Sophia at Dansomanie for this update)

I do agree with you that these women deserve much better. Mine is more in keeping with the children’s version that I’m working on — “Gigelle (Giggle) and The Sillys” Alexei Ratmansky (and George Balanchine) can be delightfully light-hearted. I can live with that. “Somewhere over the rainbow, way up high There's a land that I heard of once in a lullaby”

Purists be ware. 😊 Inspired by what I consider to be the absolutely charming elements of this production, I’m in the process of creating my own reimagined version of Giselle. The ‘mad scene’ becomes the scene where she falls madly in love…. You take it from there.

This is exactly what I'm looking for, Kathleen. Thank you.