Buddy

Then catch a plane to Moscow, April 30. If it weren't totally insane I'd fly from California.

Tickets available for April 30, Olga Smirnova. http://tickets.bolshoi.ru/en/performance/12863/

And Olga Smirnova, April 30. Change your plans ! 12 hours and $1000 from LA on Aeroflot. Something for me to dream about.

Alyona Kovalyova will be dancing Nikia (La Bayadere), May 2. Her debut, I believe. https://www.bolshoi.ru/en/performances/1/roles/#20180502190000 As of the moment seats are available, Mnacenani. http://tickets.bolshoi.ru/en/performance/12997/ Added: I would certainly like to go myself, but will probably be far away from Europe at the time. Added, added: And, Good Golly!, Svetlana Zakharova, April29 and Olga Smirnova, April 30. Go, Man, go ! I'm in California, but....

"The Legend of Love" Of all the 'modern classical' works (not 'neoclassical' -- Balanchine, et al) that I've seen this one is most certainly my favorite. The brilliant innovations of choreography, the hands, the positioning, are remarkable. I believe that it's considered Yuri Gregorovich's Masterpiece. I would agree. I thought that this performance was excellent. One thing that I liked was that some of its 'heaviness' was lifted. After Yekaterina Kondaurova's wonderful fireworks in Act I, things settled into a more poetic flow, which I enjoyed very much. This is where the Mariinsky excels. Act I also featured some very finely articulated dancing by Olesya Novikova and fine airiness of dance and presence by Timur Askerov (Acts I and II). Renata *Sunshine* as "Gold" was Gold indeed.(seen at 18:40) In Act II, Viktoria Tereshkina and Elena Yevseyeva added their touch of subtle and poetic loveliness that I thought worked extremely well. Viktoria Tereshkina was as lovely as I've seen her, especially in facial expression. Elena Yevseyeva did very well with a beautifully airy agility. In Act III, Anastasia Matvienko did just fine in maintaining this aura. And....Kristina Shapran is back. Her arms remain her masterpiece. They are so articulately beautiful that you can almost read them. In addition, she had some breathtakingly airy jumps. And....Andrei Yermakov -- great ! His was one of the finest dramatic presentations that I've seen from a male dancer at the Mariinsky. Everyone else was just as fine. The Corps de Ballet was a Dream. In the last act they just floated wonderfully through and above it all.

You're very welcome. If for some reason you're not into doing a Rave about this one, I'll do it for you. ....here. http://balletalert.invisionzone.com/topic/42914-2017-2018-season/?tab=comments#comment-398149

And if you want to see Yekaterina *Garbo* -- I mean Yekaterina Kondaurova, she starts at 15:00.

Act III — Magically lovely. Kudos to Andrei Yermakov on this one. You can see the rerun now.

That's the Mariinsky Magically Beautiful ! Staged in honor of the 70th Birthday of Ballet Master Radjepmyrat Abdyev. https://www.mariinsky.ru/en/company/repetiteurs/abdyev Rerun can be seen now.

I missed the first half of Act I. I hope that it will be rerun. Yekaterina Kondaurova looked quite fine. In both acts, a bit heavy on the eye makeup for the lead ballerinas, especially the eyebrows, perhaps. In Act II, I thought that both Viktoria Tereshkina and Elena Yevseyeva had an unusually poetic restraint and loveliness for this work, that was very beautiful. Very well received by the audience.

Yes, it's on right now.

The performance of Legend of Love tomorrow, April 5, with a different lead in each act, except one, can be seen live on the internet at Noon (EST). Distribution : Shirine : Olesya Novikova (acte I), Elena Yevseyeva (acte II), Kristina Shapran (acte III) Ferkhad : Timur Askerov (actes I, II), Andrei Yermakov (acte III) Mekhmeneh Bahnu: Ekaterina Kondaurova (acte I), Viktoria Tereshkina (acte II), Anastasia Matvienko (acte III) Vizir : Alexander Romanchikov Amis de Ferkhad : Victor Caixeta, Ramanbek Beishenaliev, Yaroslav Pushkov, Vyacheslav Gnedchik Or : Renata Shakirova Bouffon : David Zaleyev (Thanks to Sophia at Dansomanie)

The performance of Legend of Love tomorrow, April 5, with a different lead in each act, except one, can be seen live on the internet at Noon (EST). Distribution : Shirine : Olesya Novikova (acte I), Elena Yevseyeva (acte II), Kristina Shapran (acte III) Ferkhad : Timur Askerov (actes I, II), Andrei Yermakov (acte III) Mekhmeneh Bahnu: Ekaterina Kondaurova (acte I), Viktoria Tereshkina (acte II), Anastasia Matvienko (acte III) Vizir : Alexander Romanchikov Amis de Ferkhad : Victor Caixeta, Ramanbek Beishenaliev, Yaroslav Pushkov, Vyacheslav Gnedchik Or : Renata Shakirova Bouffon : David Zaleyev (Thanks to Sophia at Dansomanie)

It’s a week later New worlds, new realities Yet, in the back of my mind something’s still dancing, something’s still warmly embracing Dance — our poetry without words Life continues to dance through our senses The sun floats across the horizon, the stars twinkle in the sky Artists will always try to capture its beauty, it’s illusive But it’s always there to embrace — somewhere, somehow.

Thanks, Mnacenani, for the suggestion. Over my fifteen years or so of ballet watching I’ve generally favored the Mariinsky. I like the slight stylistic difference and I love the Festivals. I always wanted to visit Moscow during the Festivals, but I was waiting for both the fast train and then the theater to be completed. It took quite a while. Often there isn’t anything that I really want to see at the Bolshoi when I’m in St. Petersburg and ticket availability is somewhat of an effort. Ticketing is excellent at the Mariinsky. I finally got to Moscow several years ago and I really enjoyed it. I like the city very much and the performances (La Bayadere) were excellent. I’ve never seen the Bolshoi, from top to bottom, do better. And you are correct. There was an electricity, especially for the main star that I saw, Zvetlana Zakharova. Now, with Olga Smirnova and Alyona Kovalyova at the theater I’ll make every effort possible to be there. I’ll probably only be in Europe once a year for awhile, but I’ll certainly try to tie Moscow into my Festival visits or go there direct. I’ll also try to catch both companies when on tour, especially in the US. As I’ve said, I do tend to favor the Mariinsky ‘style,’ even its resemblances at the Bolshoi. And I must say that the ballerinas that I saw did have Mariinsky resemblances. They were Svetlana Zakharova, Anna Nikulina and Ekaterina Krysanova, who does have a wonderful dreamlike manner when she choses. But the excellent performances that I saw in Moscow showed the Bolshoi ‘style’ at its finest. One of the big differences for me is this. With the Mariinsky I sense a dreamlike flow. With the Bolshoi it’s the portrayal. For example, Olga Smirnova’s beauty of motion is undeniable, but her expression and portrayal are outstanding. Oxana Skorik, on the other hand, is pure beauty of motion, which I love, perhaps most. This is the essence of ballet, for me. Yet the Bolshoi does its more theatrical approach so remarkably well that I have to consider it with equal admiration and enjoyment. This year Yekaterina Kondaurova entered Bolshoi waters somewhat. I’ve often commented on her exceptional portrayal and expressive abilities, which it seems she uses very selectively, so that it can be missed by many. But when I call her the Garbo of ballet, I mean just that. Her first act of Swan Lake was a theatrical masterpiece. She’s probably the best at this at the Mariinsky as she is in versatility. When doing this, she could be the Mariinsky’s best connection to the Bolshoi’s dramatic prowess. To continue with the Festival for a moment, I always have to mention the absolutely wonderful Corps de Ballet. It did great this year, as usual. And there were so many excellent supporting performances that I would hardly know where to begin. I would like to briefly touch on May Nagahisa, "Trainee," because she's new to the scene, but seems to be ascending rapidly. I put her in a grouping with Yekaterina Osmolkina and Maria Shirinkina, petite and dreamlike. I appreciated her two brief appearances very much. Weight might become as issue, for me. She's extremely thin. I hope that she doesn't go over the edge. I also believe that MadameP found her arms to be somewhat stiff in comparison to the lovely flow of Maria Shirinkina. I partially agree, but they also have a beautiful expression and articulation, which, for me, makes it all work very well. And she has a fairylike aura that I found to be captivating. If anyone has an artist or work at the Festival that they would like to hear more about, I’ll try to respond.

Maybe I could add one more thought since I’ve mentioned Olga Smirnova and Alyona Kovalyova. This is something that’s not gone unnoticed at the Forum and something that I’ve felt for a long time. Between the Mariinsky and the Bolshoi, it would seem that the Bolshoi possibly has the Top Stars — Svetlana Zakharova and Olga Smirnova. And Alyona Kovalyova may soon be recognized as such. Yet where do they come from and whom do they resemble? For me, Svetlana Zakharova and Olga Smirnova are a fine blend of the two companies, while Alyona Kovalyova is almost pure Mariinsky. They all had roots at the Vaganova-Mariinsky. And from a personal standpoint most of my favorites at the Bolshoi have had strong Mariinsky resemblances starting with Svetlana Lunkina up to Anna Nikulina. Below Very Top Star level I would say that the Mariinsky has a remarkable depth. So what does it all mean? For me, more trips to Moscow if at all possible unless they come to the Festival, which Olga Smirnova wonderfully did last year. Yet the Mariinsky is perhaps the Heart of this phenomenon, which I’ll always want to experience as much as possible. The Bolshoi is perhaps the Soul. But....I'll hasten to add, whom do I watch most on the internet. Oxana Skorik. For one thing Olga Smirnova for some reason doesn't come over as well for me on tape. Still there's more to it than that. Whom would I make a special trip to see? Probably Olga Smirnova. I really do love them both as artists.

Thank you very much, Gnossie. These performances over the years have become one of the joys of my life. They are beautiful poetry and dreams. It’s a pleasure to experience and share them. When I write about them I try to do so in response to my heart. Could I add a few more thoughts. This year’s Festival did not necessarily have a ‘super-star’ like last year —- Olga Smirnova. It came very close at times with Yekaterina Kondaurova’s Swan Lake and Maria Alexandrova’s and Vladislav Lantratov’s Don Quixote. These performances, like Olga Smirnova's, were a combination of the finest poetry of motion and dramatic expression. I would hope to see her return, ideally on a regular basis, as did Alina Cojocaru. I consider her to be one of the best on the scene today -- perhaps one of the best ever. If the Mariinsky needs a justification, well, she's a graduate of its own school, an example of its highest standards, always a 'St. Petersburg girl'in her own words and one who also carries the art form magnificently into high theater and artistic exploration. What the Festival and the Mariinsky always have is Dreamscape. Last year Yekaterina Osmolkina was perhaps its finest example. This year she was again along with the returning Oxana Skorik and Alina Somova. And there are many others such as Maria Shirinkina. Nadezhda Batoeva and Renata Shakirova are standing on the doorsteps. May Nagahisa is just emerging. And the very young, Vaganova graduate, Alyona Kovalyova, may become the Bolshoi's next response. I'd love to see her at future Festivals. They all represent the finest in artistic, ethereal beauty.

Once again, what the Festival finally distilled down to was the interest, worthiness and enjoyment of the material and the excellence of the artists. If some of it seemed like “the same ol’ same ol’,” the same artists doing what they’ve often done before, well, at the Mariinsky that’s still just fine. But, it was much more. These artists grow. I would honestly say that everyone that I’ve seen do the same or similar performances before was better. In addition to those whom I've mentioned in my previous post, there were many others. This began with Viktoria Tereshkina and Olesya Novikova doing as well as I’ve seen them do in the ‘restored’ Sleeping Beauty, which in these presentations was a highly interesting, often successful and very beautiful attempt at doing something differently. I’ve now seen Yekaterina Osmolkina dance Giselle four times. She did it two years ago at the Festival and this year she was even more artistically commanding. She has a fine and subtle theatrical ability and she’s one of the most beautifully moving beings at the Mariinsky. She’s a petite woman who can sometimes pass by less noticed than others who are more ‘flamboyant’, but she’s a giant of subtle beauty who I feel can hold her own in anything that the Mariinsky presents. And she was partnered very well this year by the charismatic Marcelo Gomes. Yekaterina Kondaurova, partnered by Timur Askerov in Swan Lake, and Maria Alexandrova, partnered by the brilliant Vladislav Lantratov in Don Quixote, during large parts of their performances reached levels of theatrical artistry that were the finest that I’ve ever seen on a ballet stage. Yekaterina Kondaurova is showing many similarities to the Bolshoi’s (Vaganova graduate) Super-Ballerina, Olga Smirnova. Both are capable of performing most anything. In addition, Yekaterina Kondaurova remains untouchable in her command of modern and ‘alternative choices’ dancing. Nadezhda Batoeva and Renata Shakirova were two of my sentimental favorites. They’re young, alive, loveable and so very talented. Nadezhda Batoeva, partnered by the princely Xander Parish, debuted her Swan Lake, the ‘pinnacle’ of ballet, as if she’d been doing it all her life. Renata Shakirova, partnered by the amazing Kimin Kim in Don Quixote, was an absolute joy. She also showed in the Act I Giselle duet that she has fine grace and subtlety. Both these lovely and exceptional artists are well on their way to outstanding and highly beautiful horizons.

In an effort to try to hold onto as many memories as possible of the Festival I’ve been going through the internet video clips. Of my personal highlights there are a few nice quality ones. The first that I sought out were those of Oxana Skorik who performed the most, three times — Odette/Odile (Swan Lake), The Act II Duet from A Midsummer Night’s Dream and The Lilac Fairy (Sleeping Beauty). Some of this can be found on video. In my opinion, she becomes more beautiful and more interesting with each new appearance. This year she also performed flawlessly. At times, she had a loveliness and excitement that was as fine as I’ve seen from her. Equally beautiful was Alina Somova as Aurora (Sleeping Beauty) in the Gala excerpt. At this point I would say this once more about videos. They are usually much better than nothing and can at least touch on the beauty of a performance, but I usually find that they don’t really capture the entirety and sometimes the essence. One thing that I’ve noticed very much this time is the absence of the third dimension and the camera angle. One performance that I thought was absolutely gorgeous did not really come through because of these factors. Also the camera sometimes does not print or transfer well and a beautiful facial expression or gesture of the body can be distorted. I use theater glasses all the time for detail, especially facial expression, and am very sensitive to these thing. Thus, I would say enjoy the video clips as much as possible because there’s a lot to enjoy and a lot of valuable information, but don’t necessarily rely totally on them. As a possible consolation, I would say that you can’t always believe what you see with your very own eyes in a video, but you can believe me. I also found a nice representation of Ekaterina Kondaurova as the Lilac Fairy along with the one of Oxana Skorik. Both tried to capture a restoration style. Ekaterina Kondaurova’s was probably one of the most colorful and expressively interesting efforts of the Festival. Oxana Skorik’s was also interesting and most successful because of her pure loveliness. Let me add Xander (Parish). The man is absolutely handsome and he moves and dances in the same way. He seemed to be everywhere, most noteworthy as Nadezhda Batoeva's Prince in Swan Lake and Alina Somova's Prince in the Sleeping Beauty Gala excerpt, the Act III Duet. He's a Prince. Also he has a fine sense of theater and how to use it to make a ballerina shine and he's a very secure and sympathetic partner.

If it's okay, I'd like to add that these are some new reviews of the Festival.

Oksana Skorik debuted Thursday, alongside Xander Parish, in Yuri Smekalov’s ‘adaptation’ of Paquita. From some very brief internet glances they look fine. As her refined beauty grows it will be important, in my opinion, for her to retain a freshness, as seen in younger dancers such as Nadezhda Batoeva and Renata Shakirova, who are developing in a similar direction. https://www.mariinsky.ru/en/playbill/playbill/2018/3/29/1_1930 Of particular interest will be a performance of Legend of Love, April 5, featuring different leads in each act. Kristina Shapran as Shyrin in Act III would be new to me and one that I would like to see. https://www.mariinsky.ru/en/playbill/playbill/2018/4/5/1_1900 (Thanks to Sophia at Dansomanie)

Here are some reviews by Catherine Pawlick. I've only had a chance to glance at them. Nadezhda Batoeva and Xander Parish -- Swan Lake http://www.vaganovatoday.com/nadezhda-batoeva-debuts-in-swan-lake She mentions that Renata Shakirova (not noted in the program), alongside Anastasia Lukina* and David Zaleyev, replaced Sofia Ivanova-Skoblikova in the Act I pas de trois. This got by me completely, although I put question marks next to their names in my program after seeing them. One of these ladies did some very fine leg positioning. As I like Renata Shakirova very much and would hope to see her as Giselle and Odette/Odile someday, any dancing that moves her in this direction is of great interest to me. I'll try to test my recall. Ekaterina Osmolkina and Marcelo Gomes -- Giselle http://www.vaganovatoday.com/marcelo-gomes-giselle Maria Alexandrova and Vladislav Lantratov -- Don Quixote http://www.vaganovatoday.com/mariinsky-petipa-festival-2018-alexandrova-and-lantratov (Thanks once again to Sophia at Dansomanie for finding these) * This might be a good place to mention that Anastasia Lukina danced the Rose Adagio (Sleeping Beauty) March 18 at the Gala "Masterpieces of XX century' choreography," Alexandrinsky Theatre, St Petersburg. A video clip can be seen on the internet.

I’ve been busy, busy traveling, but can I please offer a few words of imagery from the visit and the performances. a symphony of motion an adventure of the heart memories to embrace a childscape of new dreams to ride I gratefully look forward to the next time when I can do it all again.

I’m in the middle of traveling but I’d like to add a few words. Another Wonderful Evening — Part II Nadezhda Batoeva — Odette/Odile — Swan Lake Two things that impressed me very much were the use of her arms and her facial expression. Her arm gestures were lovely with fine articulation and a phrasing that reminded me of what Oxana Skorik did so well with her entire body as Odette/Odile several days earlier. Her facial expression was very effective. As Odette, she tilted her head and culminated by locking her eyes as if she was in the heavens. It worked fine and made her characterization highly convincing. She was very fresh in appearance, but completely accomplished in her ability. Her dancing was as smooth as silk. In Act III she had some fine dramatic nuancing. When she was lifted back and forth between Xander Parish as Siegfried and Konstantin Zverev as Rothbart, both of whom partnered her very securely, she was sculpturally wonderful. LIke Renata Shakirova in Don Quixote, she was a Sweetheart. Even her Odile was charming in her coyish manner. As I mentioned with Renata Shakirova, I also talked to her briefly at last year’s Festival reception (none this year) and they’re both lovely which carries over to their shining and captivating stage presence. I’ll try to write more when I get a chance.

I have to catch a plane tomorrow so I won't be able to post for another day or so, but I'll try to follow up on this Swan Lake as soon as I can. I would like to say briefly that from the moment that Nadezhda Batoeva set foot on the stage she had a surety of presence and artistry that was remarkable for someone just debuting. It remained throughout the entire performance.