Buddy

This seems quite sensible and well stated, Nanushka.

Back to parallel world for a moment. I don't normally pay a lot of attention to steps but the ones that I see in the brief video clip (Smirnova/Chudin) posted by MadameP are interesting, more complex than I'm used to and delightfully performed. Because of their demand, I read that Pierre Lacotte offered to simplify them for Svetlana Zakharova, but she said that it wouldn't be necessary. She went on to set the standard for this work. I do appreciate the importance of the 'racial issue' being discussed. On my part, I've really nothing to add beyond my initial comments except that it's something that I hope is treated throughout the world with as much understanding and sympathy as possible. There's also the possibility that it might be better served (or not) by being continued at another more specific topic, although granted that it might get more justified attention here. Added: I guess I am grateful to videos in that I can focus on the steps in one viewing and upper body expression, etc. in another. This would be quite difficult for me to do at an actual performance.

Have done. (Even talked to her briefly) A real treat ! (Both)

Thanks, MadameP. I couldn't get this video clip to work, but I found one on YouTube, maybe the same, 5 minutes long (still not long enough, keep searching). Yulia Stepanova and Anastasia Stashkevich (brief glance) both project as much personality as I've seen from them. Absolutely fine. Of course their dancing is lovely. The production, I love it ! May not go down in history as one of the great classics (or maybe it will) but who cares. Performances, costumes, scenery.... A Real Gem !

And I also see Radiant Sunshine, as usual ! Not a bad combination.

I guess that we’ve got two parallel worlds going here and I can’t resist jumping into the Olga Smirnova one. Thanks again, MadameP. This one is brilliant and delightful, but for heaven sakes find ones that last for more than a minute. 😊 As usual this one shows that she knows every second exactly what she’s doing and how it’s effecting us. Look at her face. And she probably knows that she’s seconds ahead of all of us (at least me) in knowing exactly how each moment will register. And her dancing here is as clearly defined as a work by Leonardo da Vinci. Now some questions to ponder. Does she want to relinquish some of this control to what I’ll call exterior artistic/poetic currents, which is what I sense when I watch Anna Pavlova (based on one 60 second video clip) or Galina Ulanova ? Secondly, does she want to venture into the feeling of ‘etherial flow,’ which I consider a wonderful part of the Vaganova/Mariinsky beauty, when she exhibits her exceptional Vaganova/Mariinsky ‘fineness’ ? This to me will be fascinating to see. In any case, I’m Absolutely Delighted with what she does.

Thank you, Volcanohunter. My Russian is much too limited to add anything to what's already been posted, but thank you again for your interest and effort to clarify this. In any case, I'll reiterate my great admiration for Olga Smirnova. Thanks for your comment as well , Cristian.

Thank you Volcanohunter. What I'm going on is a quote from a viewer who's a ballet expert and translates Russian as a profession. The following is more information. It more or less is what I've stated. I would be glad to send you a Personal Message with the link if this is not usable because of Ballet Alert! guidelines. The quote was: "[...] So, Diana Vishneva noted one of the performances of Olga Smirnova from the Bolshoi Theatre. According to the prima's words, the young ballerina managed to reconcile the eternal debate between the Moscow and Vaganova schools, taking the best from them both." It's by Catherine Pawlick. It can be viewed here. http://www.ballet-dance.com/forum/viewtopic.php?f=31&t=36125

With all due respect, Volcanohunter, I do recall her saying this. If I can, I'll try to find the link. Added: Whether she said "the first" I'm not at all certain about. I would agree with you to some extent about Galina Ulanova, except that I put her in such a class of her own, as I do Anna Pavlova, that it, for me, it becomes something different.

Can I get back to Olga Smirnova for a moment. You may have heard me mention her. 😊 Probably the thing that I want to say most is how important it is to see her in person, if at all possible. Videos, as fine for us as they are, are at least a step removed from the reality. In the case of Olga Smirnova, even a micro-step removed from the reality can have a large effect. I feel, and I think it is somewhat of a general feeling, that the Mariinsky is primarily about pure dance and the Bolshoi is more about theater. I love them both very much. Diana Vishneva on the first Bolshoi television contest program stated that Olga Smirnova had managed to combine the two (also saying that Olga Smirnova was the first?). She might have also noted (I did) how remarkable this was considering her very young age. The 9 minute documentary is rightly titled “The prodigy.” What Olga Smirnova shows so beautifully in the video clip posted here by MadameP is the fineness of her Vaganova/Mariinsky dance. What it maybe doesn’t capture as well, being a video, is each heartbeat, each breath, each thought. This can only be best observed at an actual performance, and this to an artist such as her or someone like Veronika Part is truly meaningful. In my opinion, her strength at the moment is in her expression or her theatrical prowess. This is what you might expect at the Bolshoi. Yet, I feel, that her mind and ability is remarkably agile to the point of artistic genius. She can move back and forth between theater and ethereality of motion with absolute brilliance. Anna Pavlova (based on very limited video documentation, and comments by observers) set an ideal. Galina Ulanova may have almost reached the same level. They inhabited the ’soul’ of their art. Olga Smirnova is perhaps the closest I’ve seen. What is different is that I generally see her mind at work and it’s remarkable. I’m sure that she’s entered the realm of ‘the step beyond’ as well. This is what I watch for with particular interest. In any case, whatever she does is exceptional and outstanding. And again I would highly recommend seeing her live if at all possible.

Hope that you're feeling better today, Drew. Did anyone notice Olga Smirnova's remarkably beautiful six minutes of dancing. 😊 I spent much of yesterday doing that.

And thank you. Wisdom is commendable -- So is Joy

Goin’ Back I think I'm goin' back To the things I learned so well in my youth, I think I'm returning to The days when I was young enough to know the truth But thinking young and growing older is no sin And I can play the game of life to win Then everyday can be my magic carpet ride So catch me if you can I'm goin' back Songwriters: Carole King / Gerry Goffin Hope that you're feeling much better as soon as possible.

Thank you so much for this, MadameP. I don’t think that I’ve ever seen Olga Smirnova dance more beautifully and this is a video clip. I normally feel that video clips haven’t captured her well at all. I’ve often mentioned that I wonder what she would have been like if she had gone to the Mariinsky. I thought that she would be remarkably beautiful. I think that this video gives a good idea of that. She’s still got all her Vaganova/Mariinsky fineness and loveliness. It’s great to see ! I’ve always enjoyed the original Pharoah’s Daughter video. Svetlana Zakharova was radiant as was Maria Alexandrova and Sergei Filin was excellent as was Gennadi Yanin as his comically and athletically brilliant companion. I saw the actual production with this cast and with Svetlana Lunkina as Aspicia, who was as beautiful as I’ve ever seen her. I really enjoyed it. I believe that Pierre Lacotte did the costumes and scenery as well as the reinvented storyline and choreography. Truly impressive ! Beautiful production. Now back to viewing — Olga Smirnova Heaven 😊

Hee Seo seems to do this to me. A week after the performance and she’s a memory that lingers as much as any. I’m not even sure how real it is. But does it matter? It may largely be sentimental aura, but it’s real enough. Probably, if she hadn’t shared the stage with Gillian Murphy’s exceptional Gamzatti and appeared a day before Christine Shevchenko’s incredible revelation, she would have registered much stronger. As I’ve mentioned, I feel that subtlety and poetry are what she’s about. I’ve seen many Nikiyas. Recently, Olga Smirnova’s was the most amazing and Oxana Skorik’s (from video clips) the most beautiful. Yet Hee Seo is about poetry and a certain loveliness. The closest Nikiyas that I’ve seen would be those of Paris Opera’s Myriam Ould-Braham and the Bolshoi’s Anna Nikulina, both so sensitively lovely. She also has that wonderful fusion of dance and theater. Her dance, besides being very lovely, can often dramatically enhance her theatrical statement. And her theatrical choices can be quite compelling. Hee Seo wasn’t invited to two Mariinsky Festivals for nothing, where she effected me in the same way. I look forward to seeing her again as I feel that she’s rather special.

Thanks again, Drew. That was very kind of you and I hope that you have a very fine year.

Thanks, Drew. I do appreciate your's and other's concern that the right thing be done. Hopefully, that's the way that it will be. By the way, again, I'll have my laptop with me so I hope that you won't have to miss me too much. 😊

Not to minimize your concern for doing the right thing, but you skipped my anecdote, Drew. 😊 By the way, I hope to be back there in a two months. I love the place.

A bit more added comment. I don't have any reason to believe that Lacotte or the Bolshoi have done this as an insult. Anecdote: I was in South Africa two years ago and the man who drove me to the airport told me that his name was Blackie. I couldn't bring myself to call him that because of my American upbringing, but he didn't give it a second thought.

Laurent, I think that I have to agree to a reasonable extent with what you say here. It's a very delicate subject in the US where I've lived much of my life, but like you I feel that you can't literally transfer one culture's point of view to another's. Liza does raise points worth considering, but I have to sympathize with what you're saying here.

Thanks, MadameP. If you or anyone else hears something for certain, please post.

I do too, Charlie. To me, she's such a beautiful dancer. If anyone knows anything please post.

Thanks, Charlie, for your response. I would think in current instances that "sponsorship" could vary from paying some of a dancer's or student's expenses, to making donations to fund certain parts of the company, or to things less acceptable. I'm not saying that what you and Laurent feel isn't true, just that saying that "a wealthy sponsor pays money to Gergiev" is something that really should be backed up by some 'responsible sources,' within the guidelines of this forum and 'responsible' discussion. Maybe a moderator would like to comment on this. Added: Maybe I should have said "responsible and *quotable* sources."

In all fairness, Laurent, statements like this should be substantiated here.

I’ve only seen Misty Copeland in one major role and that was last Friday. My feeling then, which I briefly tried to express here, was that within a certain range she seemed quite fine. She had a manner of expression in line and drama of motion that I thought was very effective. I felt that if she could elaborate or build from this that she could be very impressive.