Buddy

The entire 'White Swan duet' is shown in the video posted above by Canbelto.

Also from her posted Instagrams it seems that she leads about as happy a normal teenager's existence away from the theater as is possible. I think that this is great and hope that it can be a rewarding part of her artistic life as well.

Denis Rodkin seems like an a very good partner for her. From what I've seen on video he's fine himself and gives her very good mental and physical support. Lifts and such are very secure giving her the freedom she needs to really shine.

Mnacenani, I seldom, if ever, post videos from unofficial sources. Just my thing (respect of copyrights, etc.). You'll have to take my word for it, I guess.

Looking around the internet I’ve been able to see the White Swan duet from her second Swan Lake performed two nights ago and it goes well beyond anything that I’ve seen her do. Besides her exceptional beauty of motion, this shows a mature serenity and calm that permeates both her dance and her character. It’s quite remarkable for a young lady of only 19 years. Makhar Vaziev, Artistic Director of the Bolshoi Ballet, has cited her “intelligence”. Here, combined with wonderful sensitivity, it seems very evident. It’s a well thought out, yet totally relaxed and unforced interpretation. It has poetry, depth, expression, loveliness, technical fineness and heart touching beauty. I don’t think that there’s any doubt that she’s remarkable and has an amazing career ahead of her. If you want to read previous and ongoing discussion look here and at several other related Bolshoi topics. http://balletalert.invisionzone.com/topic/42333-is-alyona-kovalyova-zvezda-material/

Someone has posted about a minute of the White Swan duet on an instagram. What it captures is her remarkable flow. I've noticed this on the Diamonds rehearsal video clip. It involves the timing and general transitioning of her elegant positioning, like currents of dancing air. Something very noticeable at intervals is the very subtle positioning of her head. It dominates. The timing is breathtaking. Even the expression on her face and the focus of her eyes are key elements in the overall flow.

I think that it could work very well. She is changing, becoming more subtle, more artistic, more lovely. I think that she's definitely moving in the direction that Cristian has described -- Artist. Added: I also loved her sunshiny, uninhibited, energetic prowess as Kitri (Don Quixote). Still do.

She performed her second Swan Lake last night with Denis Rodkin. All I've found so far is a nice comment and some lovely curtain call photos at another forum. If I can find something that can be posted here I'll try to do so. I would really have liked to have been there and look forward to seeing her somewhere as soon as possible. Added: Her next debut will be as the Lilac Fairy (Sleeping Beauty) February first. (thanks to Sophia at Dansomanie for catching this)

Theo started this topic by writing -- "From time to time I search for dancers that pop off the grid." I was looking for something to fire my imagination and I settled here. What is it about this very creative artist ? Basically it was a performance of Gamzatti (La Bayadere) from when she was still at ABT that came to mind. To state it simply -- she was fascinating ! She created a being, totally her own, that was an artistic masterpiece -- colorful, exciting, technically fine, psychologically enthralling.... and she immersed herself completely. I've seen her in little else, but what I have seen is total commitment and brilliant invention. In addition, I've read comments, by those more focussed on this than myself, highly praising her technical ability. Lourdes Lopez, director of the Miami City Ballet, finally gave her a position as Principal that I think that she really deserves. I'm hoping that she'll also give her as much leeway as possible to do what she does best -- to be an expressive burst of creativity and beauty of her own invention.

Thanks, Fraildove. It must have been a wonderful experience. Since I’m here I’d like to add Anna Pavlova again.

If you do go I would suggest taking theater glasses as facial expression is becoming more and more important in her presentation.

There’s still no news about this year’s program but I assume we’ll get some information soon. While waiting l think back to last year. The real highlight for me remains Olga Smirnova’s La Bayadere. It sent me home that evening in a state of absolute reverie. This is what I live for during these Festivals. In case I may have felt that this might have been a one time thing, she did it to me again in Geneva last month with only a gala excerpt. I do hope that she becomes a regular guest sensation at the Festivals. After all, she remains, in her own words, a St. Petersburg girl, and she was also a Vaganova star. And ditto for Alyona Kovalyova. Almost all guest stars have been Principals and she’s still a Soloist. Yet exceptions have been made and how fine it would be if she were one of them, for the same reasons as for Olga Smirnova. If last year I cited Jimi Hendrix’s ‘Angels’ as an inspiration, how about someone that I’ve already mentioned for this year — Bob Dylan. How about — “Girl From The North Country”. Or I could make you happy, make your dreams come true Nothing that I wouldn’t do Go to the ends of the earth for you To make you feel my love

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One of the main features that I like so much about Alyona Kovalyova is her extending into space, largely the result of her longe limbs. This she shares with the Mariinsky’s Oksana Skorik, whom I see as her counterpart for pure beauty of motion. Oksana Skorik has a noticeable refinement and, when focused upon it, a very fine expression of poetry. Alyona Kovalyova has an innocent loveliness. She is what poets write about. A dancer with shorter limbs has to compensate with such things as expressiveness. Out of curiosity I just watched a video clip of Galina Ulanova, a short limbed ballerina, but one of the greatest, most enchanting and most beautiful ever. How did she deal with this? First, she really reached out and projected her motion. Also she could energize her outward motion. Beyond all this she had magnificent expression in her limbs. I must add that she had magnificent expression everywhere which makes isolating parts, such as I’m doing here, only one element of a totality that is probably much greater than the sum of its parts.

Having only seen her briefly in several video clips, at only 19 years old, she is perhaps my favorite along with the amazing Olga Smirnova. Both have followed similar paths. Olga Smirnova is probably destined to be one of the greatest and most fascinating but Alyona Kovalyova is perhaps today’s most beautiful. As only a Soloist she’ll already get a second time at Swan Lake on the 16th. I wish her much success and expect to hear a great deal of good news about her.

I’ve seen her perform Giselle several times since her beginnings in London about fifteen years ago. Always fine, always improving, by the time I saw it last in St. Petersburg a few years ago it had become something quite wonderful. I’ve never seen it done better including remarkable performances by Svetlana Zakharova and Yekaterina Osmolkina.

I was also there the 16th. I've been traveling and not able to get on the internet, so I haven't had a chance to post or see all the other comments. Here are some very quick thoughts. How can you not love Natalia Osipova ? I thought that she was lovely in the Act III duets. I've seen her space-age Don Quixotes with Ivan Vasiliev several times and was knocked over. She didn't really have a chance to do that sort of thing much here, but she was impressive. She managed all the difficult, 'non Russian' demands of Sir Frederick Ashton's choreography quite well, but her strength lies in her 'Russian' sensitivity and energetic prowess. As I've suggested, she's now developing her expressiveness and theatrical artistry. This can be a more subtle affair. Without theater glasses to watch her face, some of this can be missed. She's now attempting more contemporary work, so it was nice to see her again in a classic. I hope that she continues to refine and grow in both these areas. She has so many excellent qualities going for her. Vadim Muntagirov was fine, very Russian looking. Anna Rose O'Sullivan as the Goat had an agile loveliness performing interestingly and as well as I've seen any 'homegrown(?)' Royal Ballet artist do. I'd like to see how she does with other parts. Claire Calvert, as Diana, had a similarity, but there wasn't a chance to see her do much. Not knowing that Beatrice Stix-Brunell was among "Sylvia'sAttendants" I missed focussing on her, something that I've wanted to do.

For the record, it may be Sergei Vikharev whom we can thank for being able to see Alyona Kovalyova, according to Laura Cappelle. “In Moscow, around the same time, Vaziev got a phone call from reconstruction specialist Sergei Vikharev, who had noticed Kovaleva (and unfortunately passed away last June). "He told me there was a very capable girl graduating, but the Mariinsky wouldn't take her. I said, 'It means she's no good!' But he asked if I could watch her," Vaziev remembers. “Kovaleva went to Moscow to take class, and Vaziev was struck by her potential. "It was a shock for me that the Mariinsky didn't want her," he says”. http://www.pointemagazine.com/alena-kovaleva-bolshoi-2513292142.html

I guess that you're being sarcastic, Drew, but maybe there's another side to this as well. Thanks, again, Quinten.

_kovalenka_✨ Last night’s “Etudes” ✨ Thank you @jacopotissi and @ovcharenko_artem_ ovcharenko_artem_И вам спасибо (“And thanks to you”) And so it goes and I'm only at picture number seven. Thanks, Quinten.

Thanks, Gnossie. "But of course there is support between dancers...." Good to hear.

To what extent do you think that this feeling of openness and mutual support does exist ? To her in particular ?

If you care to ,Gnossie, how would you respond to this ? “Still, she [Alyona Kovalyova] looks up to the Bolshoi's prima ballerinas and appreciates the dancers' openness, both onstage and off: "I felt welcomed and supported. I have really friendly colleagues." “ http://www.pointemagazine.com/community/lauracappelle

To continue Alyona Kovalyova’s quote from Laura Cappelle’s interview, ….”I’m trying to stay who I am, like I was taught”… “Still, she looks up to the Bolshoi's prima ballerinas and appreciates the dancers' openness, both onstage and off: "I felt welcomed and supported. I have really friendly colleagues." “ http://www.pointemagazine.com/community/lauracappelle The “prima ballerinas” list at the Bolshoi might probably start with Svetlana Zakharova, who several years ago performed a Giselle that I wrote at the time could have been the finest performance of Anything(!) that I’ve ever seen. Holding onto one’s youthfulness can be a very important factor and one that I’m confident she and many of the others are capable of doing. I’ve seen some very fine performances from Maria Alexandrova. A personal favorite of all the Bolshoi’s ballerinas is Nina Kaptsova whom I hope will find much more success along with all the others. If Alyona Kovalyova can lead as normal and happy a life as possible in addition to her wonderful performing, then I have to say more power to her.

Only for you, Mnacenani, will I drop everything that I'm doing and reply. I'm actually thinking of watching for about the 50th time the video clip of Alyona Kovalyova's rehearsal of Diamonds . Added: I don't really want to belittle any one else's opinion, but I do think that she's an absolutely beautiful ballerina.