Buddy

This is another one from China that I like very much. (the same video is officially posted but the video quality is better in this one) “Do you know what a "green [countryside?]" is? The most beautiful program of the Spring Festival Gala, "Only This Green", uses dance to bring to life the ancient Song Dynasty painting "Thousand Miles of Rivers and Mountains" across thousands of years! Breathtakingly beautiful~” (Google translation)

The Bolshoi in Oman -- Raymonda -- January 25-27 25th of January, 19:00 Raymonda — Yulia Stepanova Jean de Brienne — Dmitry Vyskubenko Abderakhman — Mikhail Lobukhin 26th of January, 19:00 Raymonda — Alyona Kovalyova Jean de Brienne — Artemy Belyakov Abderakhman — Nikita Kapustin 27th of January, 14:00 Raymonda — Ekaterina Krysanova Jean de Brienne — Dmitry Smilevski Abderakhman — Mikhail Lobukhin The Bolshoi Orchestra Conductor — Pavel Sorokin https://bolshoi.ru/en/news/guest-appearance/7067-Oman-tour-2024-01/ (thanks to FionaM at BalletcoForum) Alyona Kovalyova, I would love to see.

Again from a world of ‘Lyrical’ dance that somewhat parallels Western ballet is this charming excerpt from China. It should be remembered that only for a few brief epochs was dance an independent ‘high art’ in China. It was often part of Chinese opera. Thus, its level of refinement must be seen in contrast to the long and unbroken development of ballet. Chinese Dance Drama - Scene from Hong Lou Meng Another element of ‘Lyric’ that has been mentioned is the coming together of ballet and contemporary or even ‘pop’ dance. Last summer I saw the Complexions Contemporary Ballet. The company has an interesting and natural way of doing this. The first few works were dominated by very successful, high energy male virtuosity. Then came a very lovely solo performance by a woman dancer to the music of Beethoven(?) that strongly established an embracingly female and more ‘lyrical’ presence. Another female dancer, with a charming resemblance to the Mariinsky’s very versatile Ekaterina Kondaurova, was highly noticeable throughout the second half of the program. It will be interesting to see how companies like this and Ballet Black in London will further develop.

I do like the ending to this movie. “High Strung Free Dance” A trailer.

In my mind she was perhaps the de facto star of the Mariinsky Ballet Festival, quite a feat, for at least several years. I’ve somewhat lost touch with what she’s doing. I do remember sitting next to her on the plane to my second Festival and she was quite lovely. Clement Crisp, by the way, was also on that flight, and gave her a friendly inquiry. Besides being an excellent ballet dancer she has an interest and a fine grasp of the broader range of the theatrical arts. Like Drew, I’d like to see most anything that she might do. One important element in the diversification of such stars as her, Olga Smirnova, Natalia Osipova, etc. is the quality of the material that they choose or are given. She’s an extremely talented artist and I wish her the best.

I do really like this.

I’d like to include some video glimpses of all the artists mentioned in my previous post. I’m only using ‘officially allowed’ videos (copyright issues, etc.) so my choices are rather limited, but still I think that these give a nice viewing. Ulyana Lopatkina https://www.youtube.com/watch?v=p1DzAjynpl8&t=253s Oksana Skorik https://www.youtube.com/watch?v=FVROgeG3Egk Maria Iliushkina https://www.youtube.com/watch?v=tALQYqUUKNk&t=21s Valeria Kuznetsova https://www.youtube.com/watch?v=0a4xxdTP_ug Alyona Kovalyova https://www.youtube.com/watch?v=c-D0Ap-ivWA&t=1s Olga Smirnova https://www.youtube.com/watch?v=zGoRKwgfPOQ Eva Sergeyenkova Nice Documentary — start at 12:40 for dance segment https://www.youtube.com/watch?v=X3I4dQ2F0Y4&t=33s And can I mention one other rather interesting name that actually is an In-between — between Dreamlike and Expressionist. Veronika Part Although she spent most of her career at the American Ballet Theatre in New York City, she did come from the Mariinsky and it showed and she did return at least twice to the Mariinsky for guest appearances. One was Swan Lake. She ‘retired’ around the same time that Ulyana Lopatkina did, but I consider her one of the greatest ballerinas of our times. She had the ability not only to totally command the stage with her remarkable expressiveness, but to enchant with some of the finest dreamlike qualities and refined beauty of dance that I would associate with the Mariinsky. (For me, she was never filmed well on video except for a performance of Swan Lake(?) which ABT released to new donors. Perhaps it can still be seen by inquiring to the company.)

I’ve touched on all this recently at one topic or another, but I would like to do sort of summary here. I seem to have divided ballerinas that I like the most into two groups — Dreamlike and Expressionist. All these ballerinas, interestingly, clearly belong in one group or the other with no in-betweens. I put this here because all these artists, except one, are at the Mariinsky or come from the Mariinsky school, the Vaganova. The group that I probably like most is the Dreamlike group. For me, it represents the essence of ballet. I would say that the Mariinsky is probably its home. Ulyana Lopatkina, recently retired from the Mariinsky, is perhaps its most noteworthy, recent example. Oksana Skorik, Mariinsky, is probably its current best example. Alyona Kovalyova, Vaganova graduate at the Bolshoi, might be next, followed by the Mariinsky’s lovely Maria Iliushkina, but very impressively, perhaps alongside her already, is the Mariinsky’s very young, just graduated from Perm, Valeria Kuznetsova. I’m most interested to see how Maria Iliushkina and Valeria Kuznetsova develop in comparison. Maria Iliushkina still manages to maintain a childlike enchantment, which I love, while at the same time becoming constantly more impressive with her dance prowess. Valeria Kuznetsova, in less than a year based on my video viewing, has already moved from a childlike attraction to a matured mistress of portrayal. I like both these young women very much for their slightly different, yet highly lovely, artistic approaches. Oksana Skorik, by now, is almost an icon. Her dance beauty is quite wonderful. And I will, once again, say that her use of her hands is possibly the most beautiful in the history of ballet. Keep an eye on these and her for as long as you can. Alyona Kovalyova is now a Principal at the Bolshoi. Not much more has to be said. And on to the Expressionists. This is where the Bolshoi is probably the most noteworthy in combination with ballet fineness. Olga Smirnova, Vaganova star student, formerly Bolshoi Principal star, now Dutch National Ballet Principal, is its best example. For me, the ballet world is dominated by Oksana Skorik, Dreamlike Beauty <> Olga Smirnova, Expressionist Beauty. This leaves one more Expressionist, the very young, all-Bolshoi, Eva Sergeyenkova. With Olga Smirnova unfortunately departed, in a similar and perhaps eventually equal manner, she will perhaps be the Bolshoi’s next greatest star. Although there’s a world of incredible dance artists and artistry, along with a world of external factors and everyone has their own criteria and personal preferences, these are the artists that I keep coming back to. I hope that you share some of my enthusiasm and that we can enjoy and comment on them and many others, here, for a long time to come.

This year the Bolshoi posted its own Ballet Day video in its usual format. https://www.youtube.com/watch?v=8FBmRcZm7jg (thanks to Sophia at Dansomanie) (subtitled in English) What interests me primarily (for the moment anyway) and the only part that I’ve watched is the final 15 minutes with the Bolshoi’s new star, Eva Sergeyenkova, being coached in Swan Lake by Maria Allash, partnered by Artemy Belyakov, coached by Alexander Vetrov. With a ballerina having such exceptional and one of a kind expressive qualities, it’s noteworthy to see what kind of input she receives and how she responds. Maria Allash, who once again displays a very competent yet equally pleasant method of guidance, offers comments such as these. “Sing this pose till the end further there… and a very bright face.” “Raise your head up now.” “No, don’t lift your hip together with the leg, separate your leg as you [stand]…and a little bit higher. “Keep your wrist alive, Eva.” “Sing every pose.” Eva Sergeyenkova, much like Olga Smirnova in a previous Bolshoi Ballet Day rehearsal, is fully invested in her expression. The interaction between her and Maria Allash is probably one based on a cultivated mutual respect and an unspoken understanding. It’s a very nice and interesting behind the scenes glimpse. The rehearsal starts at 2:46:00.

There’s little new that I’ve been able to find. She will be performing Raymonda at the Dutch National Ballet, Amsterdam, with Victor Caixeta several times this month. Nice to see them together, like old times. Wish I could be there. Since she left Russia she has also participated in other ballet ‘directions.’ Her intent is to broaden her range. I think that in the ‘right type’ of work that she will exhibit this with remarkable ability. I still have the hope that she will find Her Own new voice with which she could be outstanding. I’ve never seen her on stage give a performance that I didn’t think was excellent, but these were all classic works, ones that for me hold the most interest, still, from all that she’s done to date. Thus I’m glad to see the announcement of the Raymondas. In addition, she remains probably as close to great Russian ballet as we’re going to get for awhile. I really look forward to seeing her again, if only for that reason, but hopefully for much more as well. (This is an old New York Times article from April 2022 that I missed, that sums up relatively well all that happened up to that date. It’s maybe a nice refresher.) https://www.nytimes.com/2022/04/15/arts/olga-smirnova-ballet-bolshoi-ukraine-war.html

Since discovering yesterday to my delight that Valeria Kuznetsova was accepted this year to the Mariinsky, I’ve been watching video excerpts of some of my favorite Mariinsky/Vaganova ballerinas in the category that I’m particularly fond of, the more dreamlike and airily graceful grouping. To narrow it down, I’ve focussed on those closest to Valeria Kuznetsova in linear airiness or willowy gracefulness, which is seeming to me to be one of her lovliest characteristics. It’s been suggested elsewhere that she’s not actually very tall, and yet she has some of the same attraction as do two of this group’s tallest stars, Ulyana Lopatkina and Alyona Kovalyova (now a Bolshoi Principal). She may be closer to Oksana Skorik in actual size. Yet to my eyes she may be the most linearly embracing and in this I would put her closest to Alyona Kovalyova and Oksana Skorik. To even regard this young, recently graduated (Perm School, same as Oksana Skorik) dancer alongside these others is about as high a compliment as I can offer and I’ve felt this way almost since I first viewed her about a year ago in the Moscow International Ballet Competition videos. I would say that she has since matured noticeably in her dramatic aura and become even more refined and lovely. Here’s a charming video of her as Giselle several months after the Competition.

Wow ! “Graduated from the Perm School of Dance and joined the Mariinsky Ballet in 2023” (Mariinsky site)

Just discovered !! — Brava !! Valeria Kuznetsova “Graduated from the Perm School of Dance and joined the Mariinsky Ballet in 2023” (Mariinsky site) Here’s what I was in the process of writing just before I found the above : "For me, the successor to Ulyana Lopatkina in dreamlike fineness at the Mariinsky would be Oksana Skorik. Her successor would have been the Vaganova graduate, Alyona Kovalyova, who is now a Principal at the Bolshoi. “And for me, next in line would be the Perm School’s young Valeria Kuznetsova. Yuri Fateev, Acting Director of the Mariinsky Ballet, was one of the judges at last year’s XIV Moscow Ballet Competition, where she won a prize in the Junior’s. He, thus, has seen her.” I’m Delighted for Her ! Brava ! Here she is once again, in my favorite officially posted video of her. There’s also now an unofficial video of her dancing the White Swan Duet from Swan Lake somewhere with Mariinsky Principal, Yevgeny Ivanchenko, probably just after graduating. She absolutely lovely. Added: I momentarily forgot Maria Iliushkina, whom I might include as well.

Looking forward by looking back. Remember her ? Oct 23, 2023 “ Today is the birthday of Ulyana Lopatkina - the pride of the Mariinsky Theater and all Russian ballet, the embodiment of nobility, grace and true skill. Congratulations to all fans of her art with the recording of a fragment of the ballet “Raymonda”. “ (Google translation) And Maria Khoreva has posted a video at her site after about a half year’s absence. I remember Xander Parish’s warm congratulations to her sister upon her acceptance to the company, even after he felt that he had to leave. Isabella Boylston (ABT) was among others who joined him. “ Ballet Class with Maria Khoreva “ https://www.youtube.com/watch?v=27Eih5luJrY&t=1486s

And I guess I have to include this sooner or later. Life is the dance in this one, perhaps. Can't Stop Loving You (Phil Collins cover)

Thanks, Sandik. If Beyonce needs a Guest Dancer, she might look here. Start at 1:25.

Not any world class ballet from her in this one, but still a favorite.

In regard to my previous post, if I ever bump into her on the internet, she does communicate there, I might suggest that she includes Oxana Skorik, performing The Swan, in one of her shows. Until then we might have to settle for this. Not bad. Her remarkable progress, shown at the end of the video, shows that she’s made great strides towards becoming a world class ballerina. And interestingly, the world population is 8 billion. So if on 'average,' everyone who's watched this video has watched it at least ten times, that would be around 300 million. Whatever the numbers, I do have to admit to finding her rather lovable. https://www.youtube.com/watch?v=nfWlot6h_JM

Thank you, Meunier Fan. I'll look forward to this. I’ve now seen the entire video and I have to say that I’m Bedazzled ! Apparently this was not a debut for Eva Sergeyenkova, but instead for her partner, Klim Efimov, new to me and very impressive. Bedazzled — because Eva Sergeyenkova possesses her character completely, and makes her real and magical, like no other that I’ve ever seen.

I just watched an hour long (approx.) video of a Taylor Swift concert. It’s the first glimpse of one of these that I’ve had. Something that impressed me very much was her use of dancers. They weaved through the entire performance. One of the dance sequences was particularly impressive for its combination of pop/rock essence and its fine artistic quality. Taylor Swift may be opening the door to ‘pop/rock’ theater. I hope that high quality dance and refined artistry, along with contemporary attraction (a rock video can get millions(!) of viewers), will be a part of it.

Presence, Presence, Presence. I do consider her to be, perhaps, the most interesting ballerina that I know of presently performing, along with Olga Smirnova. There has been little video coverage of her, and even less of Olga Smirnova, this year. For me, they have many similarities. They come from the same background and represent some of the best in artistic dance expression. A new video has just been posted of Eva Sergeyenkova’s recent performance of Giselle at the Bolshoi. It’s from the famously beautiful, second act, ‘dream’ sequence. I only watched the first part, but was immediately drawn in and greatly taken by her remarkable presence and how it combines so well with her wonderfully expressive and highly proficient dance ability. I’ll continue to watch her with much interest in, and much hope for, her artistic future. Correction: This was not a debut for Eva Sergeyenkova, which I've corrected above, but rather for her partner, Klim Efimov.

My only response for the moment is to hope that some of what might have a deeper value and significance in all this was taken to heart and expressed by at least some of the performers (and others involved). “Do you know what she means by, "the direction of the general movement was preserved”?” Danielle, your’s is a very good question and I was wondering the same thing myself. Your guess is at least as good as mine.

This is a lengthy article by Anna Gordeeva in the russian magazine ‘Musical Life.’ (Google translation from Russian). She states, “So, the artists [the Mariinsky dancers, probably] say that the same dances staged by Ratmansky and Candeloro look fundamentally different. The direction of the general movement is preserved, but not the type of pas itself.” https://muzlifemagazine-ru.translate.goog/vopros-doveriya/?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=de&_x_tr_pto=wapp (thanks to Angela at BalletcoForum) This is interesting added information, but nothing else is said on the subject. Only time can possibly determine the extent of its accuracy, along with the accuracy of the article that I mentioned in my previous post. Danielle, I haven’t found a link to that article. It was emailed to me.

Thank you very much, Roberta, and thank you, Danielle. From the few glimpses that I get, Maria Khoreva, like Maria Iliushkina and Viktoria Tereshkina, has made a very sincere commitment. I would like to inject one other thought. A very respected and knowledgable commentator (I believe) has suggested that after what Alexei Ratmansky put into this production anyone could have come along and successfully finished it, using his exact choreography or not. This may or may not be true. There may be a lot of soul searching to be conducted before this production is ever put into moral and historical perspective. I will inject a personal thought that also may or may not be correct. Perhaps somehow this all is reflected in the performers (and others involved), who also may or may not have had to look deep within themselves.