Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Buddy

Senior Member
  • Posts

    2,185
  • Joined

  • Last visited

Everything posted by Buddy

  1. Here's the six program with more contemporary. https://www.youtube.com/watch?v=lOdMBHfC4WU&feature=youtu.be A friend in Saint Petersburg sent me a summary in russian of what everyone said. about Maria Khoreva's and Vladimir Shklyarov's performance of Christopher Wheeldon's After The Rain (starting at 59:50). The judges were Diana Vishneva, Farukh Ruzimatov, Denis Matvienko and Alexei Miroshnichenko. This is a Google translation. In the video, the guys are congratulated on a wonderful performance. The presenter said that not only they were on stage today, but there was a quartet on the stage, today there was a grand piano, Victoria Mulova performed brilliantly the solo, this is a famous violinist, our legend, it was such a synthesis of love, melody and it was amazing. The presenter [Svetlana Zakharova] watched this number not for the first time, she said that this number is performed in concerts and gala concerts and that she herself always wanted to dance this number, but has not yet succeeded. When she watched their number, she discovered so many new things for herself. they brought in so much new from themselves. They thanked Svetlana for such warm words, although it was generally difficult for them to imagine how it would work at all, how to practice and teach order by zoom. They thought that Christopher would rehearse with them more rigidly and strictly follow the details of his choreography, but he said that many couples have already danced this duet and it must be a special story. He told them the story of how the first couple danced, it was the departure of the famous dancer from the stage and it was a farewell act for him and he said that every couple must find their own story. The presenters asked what story they found, they replied that they had found their own, but they would not like to tell what he thought he danced and Masha danced about) The presenter suggested that they found a story about how two artists became close during this project and stopped being shy of each other and finally opened up Now is the time to hear the jury Farrukh: The most important thing is that for me this state is valuable on stage, a secret dissolution both in music and in choreography and, accordingly, between each other. In my opinion, you create things that we will then remember for a long time. I congratulate you. Alexey: The number is very famous, a lot of great dancers danced it, very musically staged and you danced it beautifully, there was such a fusion with music, Volodya's drama was built more accurately, more visibly, and this is understandable, you will certainly find a wider palette for performance of this number and I hope you will dance it. Maria, today your elastic bands on soft shoes bothered me very much, they stood out very much, look what Volodya had, they practically did not differ from the body, this was very distracting me from both music and execution, so you need to follow up on this too. Denis: I am still in a trance from your performance, Masha's eyes were a little lacking, perhaps, some kind of look, these are not even claims to you, but to your age, you are not yet able to plunge into your inner world during time to dance and forget that the audience and the jury are sitting and enjoy the music without even creating your own story, but just send everything to hell and dive into everything that is happening here, at the moment. I wanted to ask you: "Are you just thinking during rehearsals, when you went through the runs, during today's performance?" Masha: "Volodya says to me, don't tell me now (everyone is trying to persuade her!) In fact, for me After the rain, this rain can be just nature, but you can use the rain as a metaphor that there was some kind of storm, some kind of splash, a surge of emotions, events, and after the rain it is harmony, tranquility, but still there are some remnants of the past excitement in the air ... Denis: "For me you were under water, you did it, I congratulate you Diana: "Let's talk about trance, let's continue, She says that this is the best production of Christopher and many dancers (she lists) she saw in this issue and believes that this is a duet for an internally mature artist and it's not just about age, but about the ability to feel music and life. Therefore, it is important here how much the artist understands what he is investing, how he puts himself into this music, and Thank you Volodya, because your performance is exactly the caliber that I told you about, and Maria just needs to continue Grades (the presenter recalled that Vladimir is taking part as a partner) - everyone put 10 except Diana (9) and she said that it was a pity that Vladimir did not participate in the competition) Project completed Volodya said that in this project they discovered new qualities in each other not only as artists but also as people And Maria will be left with the amount of knowledge and energy that Volodya gave her Something like this
  2. Of the Modern-classical works, this should certainly be included in my list from the previous post. After The Rain (Christopher Wheeldon) Here it is just posted by Maria Khoreva from the "Bolshoi Ballet" tv competition filmed in July(?). She dances it with Vladimir Shklyarov. (They received a 39 from a possible 40) https://www.youtube.com/watch?v=az4IZUTtm2c And here once again is Wendy Whelan's and Craig Hall's classic performance at 14:10. https://www.youtube.com/watch?v=8D316-KMBU8 Added: A friend in Saint Petersburg sent me a summary of what everyone said. It can be seen at today's post here. https://balletalert.invisionzone.com/topic/45887-“bolshoi-ballet”-grand-ballet-tv-competition-2020/?tab=comments#comment-430950
  3. Is it love or is it respect that makes a ballerina so compelling ? Modern-classical moments. Yekaterina Kondaurova and Alexei Ratmansky's Concerto DSCH. Her performance is of a duet, that I never really noticed before, having seen the entire work at least twice. She has a way of making things special. I briefly discussed this in my previous post. And in this instance the work is really worthy of her. The performance is from March but it's included at an instagram site with current ones from the Mariinsky. It's a Modern-classical duet and it's magnificent. I would list this particular performance among my favorites. They would include.... The Act II Divertissement Duet from A Midsummer Night's Dream (George Balanchine) with Allegra Kent and Jacques D’Amboise. The opening duet from Other Dances (Jerome Robbins) with Natalia Makarova and Mikhail Beryshnikov. The Two of Us (Christopher Wheeldon) with Sara Mearns and David Hallberg. (This new work was presented in October at the NY City Center. If anyone knows where I could see the video again please let me know). And now, Concerto DSCH (Alexei Ratmansky) with Yekaterina Kondaurova and Andrey Ermakov. Why is Modern-classical different from Classical ? One difference is that we can more closely relate to it. Love or respect for a ballerina ? For me, it's probably more love. The end result of a ballerina's creativity and talent is in the service of love. I don't tend to ultimately have evaluative responses as much as loving ones. Yekaterina Kondaurova's performance is the latest Modern-classical that I really appreciate, feel close to -- and, yes, love.
  4. As sort of a followup to yesterday's post, one of the instagrams was of Yekaterina Kondaurova with Andrey Ermakov in Alexei Ratmansky's Concerto DSCH. What sets her apart is her ability to take unfamiliar material and be totally at home with it, committing herself completely to make it believable, worthwhile and one of a kind. Her moves, her facial expression, are often brilliant in their interpretation and effect. The young Maria Khoreva has a similar ability, but I notice it more with the classics. They don't lose their identity, but are enhanced.
  5. A few instagram video clips have appeared that have prompted some general thoughts. One video is a rarity, for me anyway, of Alina Somova as Juliet. I still consider Oxana Skorik to be perhaps the most beautiful ballerina today. But there are also two 'wildcards' at the Mariinsky that can be similarly beautiful, Alina Somova and Yekaterina Kondaurova. I call them 'wildcards' because it depends on their focus as to what qualities they'll emphasise during a particular performance. They both have exceptional range and this is what makes them so exciting. Yekaterina Kondaurova has possibly the greatest. She's most known for her ability with contemporary and non-Mariinsky norm material. She's also an outstanding actress when she choses. She's exceptional with her expression. But -- she can also perform the lyrical classics -- Swan Lake as Odette/Odile, for instance, as beautifully as anyone. Alina Somova also has exceptional lyrical grace, perhaps only bettered by Oxana Skorik. But she also is capable of outstanding expression and theatrical prowess. As far as pure beauty, Vaganova graduate but now at the Bolshoi, Alyona Kovalyova, possibly comes the closest to Oxana Skorik. At the Mariinsky, other less long limbed dancers, such as Yekaterina Osmolkina, Maria Shirinkina, and the young Maria Iliushkina are also very lovely. I've been watching the "Bolshoi Ballet" ("Grand Ballet," not related to the theater) tv competition and one dancer (perhaps the only that I've ever seen) comes close to Yekaterina Kondaurova's ability to perform classical or contemporary. She's Elizaveta Korneeva from the Voronezh State Opera and Ballet Theater. Here she's doing classical (Le Corsaire duet, Yuri Bourlaka version) and comtemporary. Perhaps the Mariinsky would like to give her a glance. https://tvkultura.ru/video/show/brand_id/65456/episode_id/2466337/video_id/2355323/viewtype/picture/ https://tvkultura.ru/video/show/brand_id/65456/episode_id/2463599/video_id/2353235/viewtype/picture/
  6. Here's the fifth program. It's contemporary dance. I've just glanced through it very quickly and believe that several couples are missing. If that so they'll surely be shown next week. https://www.youtube.com/watch?v=gV-kAH5jABQ
  7. Still not good news, but still only about 1% of the population of the metropolitan area. "The last census in St. Petersburg was carried out in 2015. According to that census, the total population was 5,208,690." https://worldpopulationreview.com/world-cities/st-petersburg-population "Saint Petersburg is the second largest city in Russia, after Moscow. 2002 census recorded population of the federal subject 4,661,219, or 3.21% of the total population of Russia. The city with its vicinity has an estimated population of about 6 million people." https://en.wikipedia.org/wiki/Demographics_of_Saint_Petersburg
  8. Not good of course, but still less than 1% of the population. "The city with its vicinity has an estimated population of about 6 million people." https://en.wikipedia.org/wiki/Demographics_of_Saint_Petersburg
  9. I consider this series of shows, filmed in early summer, to be, perhaps, the best thing happening on the ballet internet these days. I just looked at the scores of the forth program. Surprise(!), Elizaveta Korneeva, whom I thought looked wonderful, especially in the dreamy lift, tied Maria Khoreva. They both received 38s (40 is the best). Interestingly this Le Corsaire duet is a not usually seen version choreographed by Yuri Bourlaka. Here it is again with the lift at 2:40. https://tvkultura.ru/video/show/brand_id/65456/episode_id/2466337/video_id/2355323/viewtype/picture/ Anna Fedossova, who has tied Maria Khoreva, received a 36. Maria Khoreva, if she were at her best throughout, would probably walk away with the final prize. She’ll probably win anyway, but Anna Fedossova will give her a good run, perhaps even Elizaveta Korneeva. Total scores at the moment — Maria Khoreva 154, Anna Fedossova 145, Elizaveta Korneeva 136. Their partners, Marcello Pelizzoni (think Hugh Grant or Xander Parish) and Ivan Negrobov are the leading males. Vladimir Shklyarov is not competing. All the women are receiving the highest scores. I’ve read that next week will be contemporary dance. This has been a tricky area in the past, both in the quality of the works and in the dancers’ ability to perform them. These are classical dancers, essentially, among the world’s best. Elizaveta Korneeva could shine once again in this area as she did in Program III. Am I a big fan of her’s ? You might say that. 😊 Farukh Ruzimatov likes her a lot as well and that's an accomplishment. https://tvkultura.ru/video/show/brand_id/65456/episode_id/2463599/video_id/2353235/viewtype/picture/
  10. Here’s the fourth episode. I’ve just watched some and these are my favorite partners for the moment that I usually watch first. The performances are lovely. The works are well known ‘Romantic Duets’. Maria Khoreva is probably as fine as I’ve ever seen her. Maria Khoreva - Vladimir Shklyarov (not competing) (Mariinsky Theater) — Raymonda https://tvkultura.ru/video/show/brand_id/65456/episode_id/2466337/video_id/2355350/viewtype/picture/ Elena Sharipova (not competing) - Arsentiy Lazarev (Yekaterinburg State Academic Opera and Ballet Theater) — Giselle https://tvkultura.ru/video/show/brand_id/65456/episode_id/2466337/video_id/2355336/viewtype/picture/ Anna Fedosova - Marcello Pelizzoni (Krasnoyarsk State Opera and Ballet Theater) — Esmeralda https://tvkultura.ru/video/show/brand_id/65456/episode_id/2466337/video_id/2355338/viewtype/picture/ Elizaveta Korneeva - Ivan Negrobov (Voronezh State Opera and Ballet Theater) — Le Corsaire ( see lift at 2:40 -- Magnificent ! ) https://tvkultura.ru/video/show/brand_id/65456/episode_id/2466337/video_id/2355323/viewtype/picture/ The entire program. https://tvkultura.ru/video/show/brand_id/65456/episode_id/2466337/video_id/2355368/viewtype/picture/ Click on boxes below to see the other performances.
  11. “Somewhere over the rainbow Way up high There's a land that I heard of Once in a lullaby” 😊
  12. Thanks, Drew and Volcanohunter, for your responses. Drew, you've made very good points. One of the big issues from the beginning of all this was balancing physical health with economic health. From the very little that I can glean from video clips, etc., audience members at the Mariinsky and Bolshoi, are being somewhat more cautious (more use of face masks, distancing, etc.) Another major bottom line is the vaccine. It's arrival on the scene, (and soon! in the US anyway, with the world surely to benefit accordingly) should have a huge and positive effect. Hopefully this will be the case and until then folks will just have to make the best decisions that they can. Added: My personal hope and plan is to attend my 17th Mariinsky Festival around April(?) after having been vaccinated, but I'll have to see what happens.
  13. Do you want to know how the Mariinsky is dealing with the virus within the company ? It seems like a sensible approach, if they are determined to perform at this time, that appears to be working reasonably well and will hopefully continue to do so. It now appears that a handful of dancers are still getting sick, but it also seems that at least some dancers (here and at the Bolshoi) really want to take the chance. From an interview with Alexander Sergeev conducted by Catherine Pawlick in “Vaganova Today.” You were one of those who caught Covid at the Mariinsky, how did you recover? We had an outbreak and within the span of 4 days, almost 60 people got sick. I was one of them. It was in August, when we were already back at work, but everyone had different degrees of severity. I had a rather mild form: 3 days of fever, my throat hurt, and 2 weeks of utter fatigue and no strength. But then I was fine. What sort of measures did the theatre take to help prevent the spread? From start of September, the way the ballet troupe is working is that it is divided into 2 parts. They create the schedule so that those two groups do not interact with each other.One group dances one set of productions and the other dances another set. The soloists work with everyone, but rehearse separately. I think this system works. Even if someone gets sick -- because someone is getting sick every week, from one to three people. But it allows them to localise the focal point of the outbreak so it doesn't spread to 60 people again. It is also important we are not taking class with 50 people anymore, but 10-12 per studio, and our studios are large. Also now everyone in the company is tested for Covid every 2 weeks. http://www.vaganovatoday.com/alexander-sergeev-mariinsky-ballet Added: How the audience is being effected is another question mark. From what I can see from the ticket sales seating charts, attendance is reasonably high. Vladislav Lantratov at the Bolshoi said that their Tchaikovsky ballet series was sold out. The Mariinsky isn't using any spacing between seats. The Bolshoi is using spacing between each two seats. Bottom line, I suppose, it that audience members don't have to attend. Still ones hopes that this is being done as responsibly as possible for the benefit of the entire population.
  14. There are a handful of videos of Saturday's Giselle performance featuring Nadezhda Batoeva and Kimin Kim. Kimin Kim remains my flagship for the ongoing return of the Russian (and World) ballet scene. He seems to consistently put everything that he has into his appearances and is doing it better than ever. The evening was dedicated to Natalia Makarova, who was eighty years old that day. Apparently company acting artistic director, Yuri Fateev, gave a special presentation. The evening also included a dancer that I don't normally see, Shamala Guseinova, as Myrtha. She fit the role very well and I hope to see much more of her. Maria Iliushkina, whose name I've not seen listed since her Swan Lake almost two months ago, returned as one of Myrtha's two helpers, Monna. It doesn't seem uncommon for her to be Odette-Odile (Swan Lake) one day and something like Myrtha's assistant (where I first noticed her several years ago) the next. In any case, it's great to see her again. She looked fine in her performance. She's scheduled to be the Dryad Queen (Don Quixote) this Saturday. Nadezhda Batoeva is what being a 'Star' is all about. She simply shines a little bit brighter. She's has fine versatility, moving seamlessly from the vibrant Kitri (Don Quixote) to the transcendant Giselle. She's super-professional. I've mentioned several times that when I saw her first Swan Lake about 18 months ago, she looked like she'd been doing it all her life. Yet, she's never mechanical. There's always a spark in her consistant competence. Annaewgn, if you're reading this, Vlada Borodulina, whom I've not seen very often, looked as fine as I've seen her. She performed the peasant Classical duet with Alexei Timofeyev (whom I always like). The video shows her soloing. She displays all the vibrance and ability that you described. Her jumps are, I believe, a strong point and they are very impressive here, graceful, airy and lofty. The Mariinsky and the Bolshoi have been back for over two months. They've been among the leaders in the performing arts' world in their persistance. Although there remain large challenges and questions, this is what they do. They do the best that they can to 'rise above it all.' I have to wish them much success in what they're trying to do and hope for the best. Things seem to be looking up generally. It's just how best to get there.
  15. Alyona Kovalyova — remember her (or any other favorite long not seen on video) ? It’s been several years since I’ve seen a video clip of her in Swan Lake. Care to see some footage from about nine months ago ? She first appears at 3:10, but mostly after 5:40. I missed two tries seeing her this year, Moscow and Chicago, but I’m determined. https://www.youtube.com/watch?v=lm0lZ0D5wE0 (posted by one of the leads on stage) Also https://www.youtube.com/watch?v=Ocng78V9EmQ Added: Sort of a nice out of the corner of my eye sort of thing. As she and 'Rothbart' (the bad guy) are coming on from the back of the stage at 5:40 you can see them helping each other. Even if she is the 'bad' swan at this time, it's a nice change of sentiment.
  16. I guess what makes this so interesting and attractive is that Russian classical dancers from all levels are, across the board, probably the best in the world. Also, the overall production (sets, presenters, etc.) is really quite fine and committed. Here are some favorites from the third program. These are all Solos. Elizaveta Korneeva — She goes ‘modern’ very effectively with her highly beautiful lines and motion. She also seems to be a justifiable, voting favorite of the highly demanding Farukh Ruzimatov. https://tvkultura.ru/video/show/brand_id/65456/episode_id/2463599/video_id/2353235/viewtype/picture/ The next two are commendable and interesting in that they effectively take two ‘icons’ and give them a more modern sensibility. Anna Fedosova — The lovely, romantically seductive Russian Dancer from Swan Lake becomes contemporary sensual. https://tvkultura.ru/video/show/brand_id/65456/episode_id/2463599/video_id/2353248/viewtype/picture/ Anastasia Lebedik — Here she takes the over-the-top, crazy, brilliant gypsy dance from Don Quixote and tempers it. It may lack the overt fire and drama of the usual interpretation, but there’s something very believable and personally touching in what she does. https://tvkultura.ru/video/show/brand_id/65456/episode_id/2463599/video_id/2353202/viewtype/picture/ Maria Khoreva — From Paquita. Signs of her brilliance are everywhere. When it all comes together, as I’ve seen in several stage performances, it’s quite amazing. .https://tvkultura.ru/video/show/brand_id/65456/episode_id/2463599/video_id/2353231/viewtype/picture/ Added: Maria Khoreva and Anna Fedosova are tied in this week's voting, as they were last week, with perfect 40 scores.
  17. The third program can be seen here. I’ve watched a lot of it and I like the women’s performances very much. Click on the boxes below to see each solo. The first box will give you the entire program. https://tvkultura.ru/video/show/brand_id/65456/episode_id/2463599/ (Thanks to Sophia at Dansomanie)
  18. For early risers (I’m on California time) you might enjoy taking a look. I’ve, for the first time, returned to the first episode and have watched almost all the performances. I recommend most of them. There are some very good and charming ones. I continue to like Anna Fedosova and Marcello Pelizzoni (Krasnoyarsk State Opera and Ballet Theater) at 1:41:25. She actually tied Maria Khoreva is the second episode. I usually like the first episodes most, as they’re more lyrical and familiar. https://www.youtube.com/watch?v=fIfjjZr5E7Y&feature=youtu.be Considering the number of viewers, 57,000 views, for the first episode and the amount of advertising, it’s having a fairly good following. Remembering that this was put together about halfway into the world shutdown, it’s a breath of fresh air and a hopeful sign for the not too distant future. Added: Here's Maria Khoreva's look backstage. https://www.youtube.com/watch?v=3EQhkIKe3pQ&t=616s
  19. Here’s the second episode. Maria Khoreva and Vladimir Shklyarov (La Bayadere) start at 20:15. Although they’re in a class of their own (as is their theater, the Mariinsky, along with the Bolshoi) there are other nice things happening. If not completely ‘accomplished’ there are elements of fineness that show how soulfully ingrained the beauty is throughout the Russian ballet scene. For instance some lovely essence from Elizaveta Korneeva (with Ivan Negrobov (Voronezh State Opera and Ballet Theater)) at 1:51:00 or the final performance of Elena Sharipova (out of competition) (with Arsentiy Lazarev (Yekaterinburg State Academic Opera and Ballet Theater). https://www.youtube.com/watch?v=njuR0UGlIjE&t=1743s
  20. The second episode should be available tomorrow, Sunday, with the following one a week later. Maria Khoreva and Vladimir Shklyarov (out of competition) are deservedly the highlights. I’ve only watched segments of each, except this and for the one with Anna Fedosova and Marcello Pelizzoni (Krasnoyarsk State Opera and Ballet Theater) (mentioned by Maps). I’ve watched it about ten times because I think that it’s quite lovely. It starts at 1:41:25. https://www.youtube.com/watch?v=fIfjjZr5E7Y&feature=youtu.be
  21. Hi, Maps. I think that I misunderstood your numbering. At 1:45 are the judges with Denis Matvienko furthest to our left. Using my very limited russian the dancers at 1:45:00 are Anna Fedosova and Marcello Pelizzoni (Krasnoyarsk State Opera and Ballet Theater). They do seem quite nice. They were awarded all 8s except for one 7 from Farukh Ruzimatov. The work is Probuzhdeniye (Awakening) by C. Bobrova. Whose "Zoom wedding this year" ?
  22. Buddy

    Simone Messmer

    Thanks, Juliet. I'm trying to find this if it's findable. Simone Messmer once said something like, 'What you see, is what I am.' Meaning that everything that she is is totally committed and totally visible, perhaps. On a stage, anyway, I've found this to be extremely impressive.
  23. The first episode can be seen here. It apparently was filmed last summer. https://www.youtube.com/watch?v=fIfjjZr5E7Y&feature=youtu.be (Thanks to Sophia at Dansomanie)
  24. It’s really nice at times to be able to divert from day to day 'happenings' and enter into a world of art and beauty that can add value, perspective, good feeling and ‘elevation’ to our day to day pursuits. I’m continuing my viewing of the Bolshoi World Ballet Day rehearsal of Onegin with Olga Smirnova and Ruslan Skvortsov because it’s so beautiful and interesting. A good thing about videos is that you can watch for detail over and over. I mentioned in my last post about how Motion, Music and Emotion/Drama are distinct elements so well blended here. One of the most impressive things that I’m noticing now is how Olga Smirnova is able to blend her acting with her response to the music. Facially, for instance, she’s able to beautifully express the music and then change it seamlessly into the telling of the story. The challenges here are greater in that there’s a very strong dramatic story, the final, intense encounter from a love drama, to music that wasn’t (I believe) composed for this work. It’s beautiful the way that Olga Smirnova, in particular, and the choreography weave this together. The other key element, the artistic imagery, or Motion (and Sculpture), that I haven’t watched as carefully, is also quite challenging. Sometimes it blends itself easily with the story and the music. Other times when the Sculpture is extremely ‘flamboyant,’ such as in the overhead lifts, you can see the challenge of blending a true life situation with artistic ‘exuberance.’ It’s all quite interesting to see this being put together as well as being performed.
×
×
  • Create New...