Buddy

I didn't know that Eleonora Sevenard is graduating this year and is regarded so highly. Great news ! I think that she's a beautiful and lovely dancer (from video glimpses) with a great deal of artistic maturity. Definitely from the same qualitative grouping as Alyona Kovalyova in my opinion. I'd hope to see her at the Mariinsky, but the Bolshoi would be fine also. Added: Since this topic got into some Russian/English linguistics earlier, I thought that this might be fun. Alyona might look a bit more familiar to us if spelled letter correct rather than phonetically....Alena. (In Russian two dots over the "e" (often omitted) becomes "yo" phonetically. Thus Kovaleva=Kovalyova.) Also I just discovered that Svet (свет), as in Svetlana Zakharova, means "Light" and that Svetila (Светилa), as in Svetlana Zakharova, means Luminary, as in "Zvezda", "Etoile", "Principal", "Baleriny", "Premiery", etc. Seems quite appropriate.

And....a few more. Yekaterina Osmolkina Sounds Wonderful Emeralds Anastasia Kolegova Love to see this Emeralds Yekaterina Chebykina Should be very interesting Diamonds Xander Parish Excellent Diamonds And.... https://www.mariinsky.ru/en/playbill/playbill/2017/4/8/2_1900 There is the type of Balanchine where I think that the Mariinsky really shines.

You've covered a great many qualities. Overall, from the videos posted by mnacenani, I would definitely have to agree with you. "Such a pretty girl!" -- Indeed! And such a lovely breath of fresh air. Natalia wrote -- "Kovalyova is absolutely exquisite! Aristocratic looks and manner that I love. She has a Yulia Makhalina air about her." For me it's immediately the face, Natalia. No matter what I think of a performance by Yulia Makhalina, who is exceptional, all I have to do is look at her face and I go silent. Alyona Kovalyova's is quite similar. They both radiate sunshine. Thank you, mnacenani. Alyona Kovalyova is completely new to me, yet I'm already starting to think history. Comparisons with Svetlana Zakharova and Olga Smirnova are primary. Just as Svetlana Zakharova is perhaps the senior 'luminary' to Olga Smirnova, I can see Olga Smirnova becoming some day the senior 'luminary' (age 24!) to Alyona Kovalyova (who hasn't really started yet!). Whereas Svetlana Zakharova represents perfection, compared to Olga Smirnova's depth of expression, Alyona Kovalyova is now the junior representative of perfection. I can easily imagine the day when Olga Smirnova will be the next Bolshoi 'prima' with Alyona Kovalyova as her heir apparent. Different styles, certainly, but equally compelling. One caveat. If the Vaganova keeps churning out stars at the rate that it's presently doing, then there's no telling how many new surprises will be in the spotlight. I'll once again mention Vaganova student Eleonora Sevenard as another possible contender. Natalia, you mention a very interesting thing. How many stars from the Vaganova/Mariinsky that have gone to other companies and why did the Mariinsky let them get away? Svetlana Zakharova, Evgenia Obraztsova, Olga Smirnova and now Alyona Kovalyova immediately come to mind. I'm sure that's there's a very different reason for each of them, but it does seem to indicate that there's so much talent at the Vaganova/Mariinsky that it's quite a job for the company to do it all justice. So one quick last comparison -- Olga Smirnova and Alyona Kovalyova, since they may well represent the next generation of Bolshoi greats. I see Alyona Kovalyova as having a slightly airier manner than Svetlana Zakharova, but they both represent the pure beauty of dance. As she becomes more refined and beautiful in the manner of Svetlana Zakharova, I hope that Alyona Kovalyova keeps her youthful joyfulness as well. Olga Smirnova reaches into your essence. As well as being a statuesque goddess of dance, she's mentally compelling. Powerfully so. This will be the possible contrast -- Olga Smirnova, the mistress of expressive drama and motion, and Alyona Kovalyova, the princess of air and artistic refinement.

I would agree that she's indeed lovely and has a beautifully airy elegance. I would guess, mnacenani, that you have Svetlana Zakharova in mind. I do see definite very fine qualities that they share. I also find resemblances, sometimes almost identical, to Nina Kaptsova, whom I've been captivated by and wish could see much more of. Added: Another young dancer, still a student at the Vaganova, that has made a similar impression from video glimpses, is Eleonora Sevenard.

Having spent about a month in southern Africa, I'm very touched by this article. African dance is something that I wanted to look at when this topic started. Now I see it in somewhat broader terms as I do the topic. Why dance ? One very good reason -- it makes you happy ! In social terms, it can give folks in 'deprived' living conditions a feeling of personal worth, light and joy. "English National Ballet star Isabelle Brouwers says she experienced the “true joy” her art can bring during a visit to a school for orphaned children in “the biggest slum in Africa”. "She told the Standard: “It really touched me personally that even in such desperate and desolate conditions ballet can bring so much true joy. It amazed me that the simple act of dancing could bring so much happiness. It was so touching to see. See them dancing with big smiles on their faces and being so happy, it made me truly understand the huge power of my art form.” " http://www.standard.co.uk/goingout/arts/it-s-really-touching-to-see-the-joy-ballet-can-bring-to-african-orphans-a3480926.html Of personal interest, I was charmed by what seemed an inherent, instinctive and spontaneous desire to dance by folks of native descent wherever I went. What I saw was mainly urban dance centered on the expressive use of the upper body, mainly the arms and shoulders, not hips. I've yet to find a good example of it on an internet video. It was definitely their domain. I've never seen it done so innately, or skilfully in all the 'Afro-derived street dancing' that I've so highly enjoyed. It also started me thinking about synthesising street and classical. That's maybe something else to pursue here at another time. Also: Check out this article and the two videos included. http://blogs.mprnews.org/newscut/2017/01/dancing-out-of-poverty-in-nairobi/

Again returning to the enchantment of the duet starting at 9:00 of the video clip that Cristian first posted, I've tried a once through first impressions. I hope that this might be a pleasant, and perhaps thought provoking, experience for those who read it. she begins with uncertainty as her partner launches her she rides both for love of the experience and for love of him uncertainty again appears, she literally tries to run away, but is caught up in the beauty and loving again she tries to leave but returns more voluntarily, loving the beauty and also exploring the person making it possible, her partner she then becomes the work of art, herself, the source of beauty, while acknowledging and using his guidance she starts to reach out to the beauty beyond herself and becomes enraptured she becomes a compelling image of calm, innocence and curiosity amidst the group of returning women dancers as they weave a spell she joins them it becomes an artistic exploration as she concentrates on exactness and refinement then she’s taken by the joy and magic of it, the actual performing her partner returns and once again she’s caught up in his presence she mixes her performance with her reaching out, her exhilaration and her desire for her partner finally letting herself be brought into him

For the moment I'm curious as to how she and George Balanchine saw each other. From my continued viewing and limited reading she doesn't seem like someone who can be told what to do artistically beyond the basic requirements. On the other hand, based on this quote, it doesn't seem like George Balanchine missed much. So the fascination. Did he lay down the parameters and let her do as she saw fit as long as she stayed reasonably within his vision, or was he trying to guide her as much as possible? The quote above doesn't really explain this. He talks about her abilities, but not her artistic choices. I tend to think that he was respectful, but determined, and that her response was much more subtle, surfacing even in other areas. Maybe someone here can offer some insight. In any case they produced great art together. I guess you can write more with each viewing. One important thing that I missed in my post above is how her view snaps to her partner's face at the very end of the duet as if he was finally the answer to all that she was looking for.

As I keep watching the duet starting at 9:00 of the video clip posted at the beginning of this topic I continue to be very moved. It seems as if she's superimposing herself onto the voyage that George Balanchine has started for her. Quite often I feel that she is living and expressing herself. Yet she is also reaching beyond, at times as far beyond as she can. She's not only living her life but also exploring and responding to all the beauty that she's encountering -- the insights and the elevation. George Balanchine offers her direction. At times she's a vulnerable self and the next moment she is swept away by a wave of universal beauty, which she rides with poetic magnificence, sensitivity, discovery and embracement.

I'm very glad that you enjoyed her, elena. Having watched some other favorite video ballerinas' excerpts, I returned to this one and was more than ever taken by her statuesque elegance. Saturday night she danced the part of Giselle. I don't recall her doing this before. Debut? If so, it's another really important one for her. I'd love to see how she looked. This part probably requires the most airy delicacy of anything that she's attempted.

I just watched a video clip of Galina Ulanova (in her twenties?) dancing the Odette duet from Swan Lake. In aura, I find a lovely resemblance between her and Eva Evdokimova. In fact, just looking at my last post above, Galina Ulanova was very atracted to her and greatly encouraged her.

Cristian, here is another lady, Eva Evdokimova, somewhat same generation and Western geography, of whom I knew nothing about, until the recent discussion. She might evoke some similar feelings. She does for me. http://balletalert.invisionzone.com/index.php?/topic/41712-eva-evdokimova/ I enjoy first watching the Giselle duets, starting at 6:45 in the video posted at top of page and then going back to the beginning for La Sylphide. Let us know what you think, if you care to.

While waiting for more official Festival news I've been going through some of the things that I've written about previous Festivals. In addition to the highlights mentioned above, I also recall some overall events that I prize along with memories of other artists. The premier presentations of the Mariinsky nuanced Le Parc really effected me. I was swept away by the work's artistic 'genius' and by the very sophisticated and refined way that it was interpreted. The work has a transcendental quality beautifully interspersing Mozart with surrealism. Somewhat related to my feelings about Le Parc is the progression of Diana Vishneva. At one of the first Fesitvals that I attended around 2005 she did one of her excerpts from Alexei Ratmansky's Cinderella. Her flights across the stage into the arms of Igor Kolb and the flips in and out of his arms were absolutely breathtaking. As she's matured, her emphasis has shifted to expression and experimentation. Her performance of A Woman In A Room (2014) entered into the transcendental and experimental realm that I sensed with Le Parc. I felt that if anyone could carry the historic refinement of ballet dancing into the realm of modern art, she could be the one. I still follow her direction with great interest. Another highlight event was the Gala in honor of the famous Mariinsky teacher and coach, Gennady Selyutsky, in 2012. The cast included some of the most famous Mariinksy related names and their performances were of the highest order. Looking back at my first comments (2007) I was very taken by how much I equated the dancers' artistry with their real life selves. I considered them to be one of the nicest group of individuals that I'd ever had the pleasure of communicating with and I equated their outstanding performances with their niceness, considering them to be almost inseparable. I still feel much the same. My contact with the artists has been almost completely confined to compliments at the final night Festival receptions, where my very limited Russian has helped somewhat. My only other contact has been an occasional fews words from sightings in the audience. When I describe a human quality that I admire in one of these remarkable artists it's almost always one that I feel is also highly reflected in their artistry. Added: For anyone who might be interested in the casts for the year when the Festival actually performed six Swan Lakes (one is the norm). 2008 Sat, 15 Mar 2008, 19:00 Swan Lake Diana Vishnjova Jerve Moro Sun, 16 Mar 2008, 19:00 Swan Lake Gillian Murphy Andrian Fadeev Tue, 18 Mar 2008, 19:00 Swan Lake Maria Alexandrova (Bolshoi Theatre, Moscow) Danila Korsuntsev Wed, 19 Mar 2008, 19:00 Swan Lake Viktorija Tereshkina Anhel Korejja Thu, 20 Mar 2008, 19:00 Swan Lake Tamara Roho Igor Kolb Fri, 21 Mar 2008, 19:00 Swan Lake Ulyana Lopatkina Roberto Bolle (La Scala, London Royal Ballet) (Thanks so much to our dear friend, chiapuris) http://balletalert.invisionzone.com/index.php?/topic/26758-8th-intl-ballet-festival-mariinsky-theatre-13-23-march-2008/

Partial casting has been posted today. La Bayadere Nikia: Olga Smirnova (Bolshoi Theatre) Solor: Semyon Chudin (Bolshoi Theatre Romeo and Juliet Juliet: Nadezhda Batoeva Romeo: Friedemann Vogel (Stuttgart Ballet) Don Quixote Kitri: Renata Shakirova Basilio: Daniel Camargo (Dutch National Ballet) Final Night Gala Featuring: Nadezhda Batoeva, Ekaterina Kondaurova, Lucia Lacarra, Renata Shakirova, Viktoria Tereshkina, Cesar Corrales (English National Ballet), Daniel Camargo (Dutch National Ballet), Marlon Dino, Ernest Latypov, Alexander Sergeev, Andrei Yermakov. Great news ! Olga Smirnova and Semyon Chudin ! She's always on my wish list along with Veronika Part and then Myriam Ould-Brahm, Simone Messmer.... Semyon Chudin, great talent and perfect partner. Lucia Lacarra appeared years ago at a Gala and I've not seen her since, but I've always liked her. Great to see her name again. Always really good to see Alexander Sergeev. He and his Principal dancer wife, Daria Pavlenko, whom I wish we could see a lot more of, are both wonderfully warm and highly talented. The two younger names, Nadezhda Batoeva and Renata Shakirova, have been given a lot recently. Nadezhda Batoeva has been a bundle of sunshine when I've seen her and Renata Shakirova, whom I'm not sure that I've seen on stage, has been very impressive on the internet (The Bolshoi Ballet contest, etc.) for her portrayal ability, flexibility of style and dancing prowess. Look forward to seeing both of them. Swan Lake is always a/the gem performance. Usually guests are given at least one of the leads. This year it's been given to an entire guest company, the Perm Ballet, a first and quite an honor. Some of the highlight performances over the years start with Alina Cojocaru's amazing year after year (six?) leading roles in the full length classics. Ulyana Lopatkina's Swan Lake (2006) may have been the finest I've ever seen. Other outstanding Swan Lakes include Gillian Murphy (2008) (actually six? Swan Lakes that Festival), Viktoria Tereshkina (2009), Yekaterina Kondaurova (2011), Alina Somova (2012), Olga Esina (2013), Oksana Skorik (2014), Anastasia Kolegova (2014).... Svetlana Zakharova's Giselle (2013), I wrote at the time, might have the best best performance of "Anything!" that I've ever seen. Yekaterina Kondaurova's evening (2013), performing all the leads in Jewels, was an amazing feat of stage versatility, endurance and dance beauty. Alina Somova's Fokine's Swan (2014) was a remarkable rendering, perhaps the finest of her performances that I've seen. Yekaterina Osmolkina's Giselle last year was exceptionally beautiful. George Balanchine's Symphony in C and Ballet Imperial are always gorgeously performed and wonderful inclusions. There's much, much more that I haven't had a chance to mention. This will hopefully be my thirteenth Festival in a row. I've loved them all, some glowing in certain areas, some in others. Usually the performances are outstanding with the artists giving their all and doing as well as I've ever seen them. There's something very special about the Festival. That's why I keep going back, year after year -- gratefully ! Correction made above: Oksana Skorik danced her Swan Lake in 2014, not 2012, which was the year that Alina Somova danced it with an outstanding performance. Anastasia Kolegova, an absolute sweetheart, also danced hers that year as posted.

Cristian, to follow up on this, my first impression was "Vulnerability."

I just discovered her about a year ago from video clips. I haven't watched that carefully, but I immediately considered her to be very special. She has very impressive physical capability and, above all, great sensitivity . It doesn't surprise me at all that George Balanchine valued her so highly.

Glad that you both got to see some things that you really enjoyed. I hope to be able to be there myself, maybe next year.

Thank you all for your comments. I continue to watch my 'adored' four minutes of video posted above by Kaysta starting at 10:30. At 14:00 almost all the dancers exit the stage doing a lovely and probably very difficult, one foot double turn ending in a back bend. The men do it 'flat toed' as usual and the women do the first turn full pointe, second turn flatter toed. The blond male dancer towards to end does a very graceful take. It makes me think about pointe work in general and if semi-pointe/lesser pointe isn't just as beautiful and a lot easier on the feet. This is a discussion that has been pursued here along time ago at another topic. Maybe we should revive it some day. The reason that I mention it here, besides thinking that it's always very important, is that the video glimpse allows a comparison of the same move with different pointe usage. Another reason is that the Miami City Ballet is so capable and versatile, that it could be a very fine place to experiment with this. I've seen the company do some extremely fine dancing of ballet quality and grace without the use of pointework. Any thoughts or comments anyone ? Maybe I'll revive the old topic if there's any interest.

I just finished the Works and Progress video, Quiggin, and am also very impressed with all the performing and choreography. Also very impressive is the amount of thought and feeling that Alexei Ratmansky puts into everything. His attention to detail while coaching the dancers is extraordinary and heart touching. One dancer (Jeanette Delgado?) in a news article said that 'he has twelve ideas for each step.' The result is absolutely lovely.

My only response, Cristian, is that ballet is both technique and aura. Which weighting each of us prefers is perhaps a matter of personal focus and sensitivity.

One of the things that I appreciate, Natalia, is the way that she commits herself to something, even if it's not to her technical strength. I don't mean to minimise what you and Cristian experienced. I do have to say, though, that I've greatly enjoyed certain works that others haven't. I'm continuing to make my way through the Guggenheim talk and demonstration, which Kaysta found for us. There is enough there of exceptional beauty and interest that I would like to see this work. One thought that comes to mind from what you've written and the video has mentions, is how talented and adaptable the Miami City dancers are. Lourdes Lopez mentions it and I'm so glad. It means that she will probably encourage this. I've seen it myself and am greatly impressed. Another thing that I'm adjusting to on the video is the way that Jeannette Delgado (I'm also a big fan of her sister, Patricia) and Renan Cerdeiro are featured. Jeannette's portrayal (as Cristian once wrote, 'She always smiles like that') may take a little getting used to, but can become embracing and totally appropriate because it's really her and it's loveabe. Simone, on the other hand, can create worlds of differentiation.

Thank you, Natalia and Cristian. I'm glad that you were able to share your experience and your thoughts. I still have my four minute video clip, which I adore. For me, it illustrates some of the best of what Alexei Ratmansky is capable of. I'm not sure what he takes from where, but his way of putting it all together can be outstanding. In the case of my four minutes, composition (the flux of motion, the loveliness and inventiveness of positioning, flow, etc.) along with his ability to adjust moods, situations, dimensions, etc. is exceptional. Being a great fan of Simone Messmer, based on what I've seen her do, I hope for the best. With the right material and direction that plays to her strength, which is her expressive beauty and brilliance, I think that she's remarkable.

Thanks, Cristian. To be continued tomorrow. Somewhat more limited in scope, I'm still glued to the first four minutes, the group dancing, of the video starting at 10:30. I do very much like the dancers and the choreography, which has a great deal of interest and charm. Alexei Ratmansky is very creatively agile. Towards the end of the video you can see him coaching Simone Messmer. He conveys certain exact details, which do have a lot of personal direction as well as outstanding beauty. It would also be interesting to see Simone Messmer working with someone like Christopher Wheeldon. He's perhaps more known for encouraging his dancers to contribute their own interpretations.

While we anxiously await Cristian's return, thanks so much, Kaysta, for finding this video. I've been looking for it for several days. I've been glued to the first few minutes of performance starting at 10:30. First of all it has a very rare video glimpse of Simone Messmer (in black), who as you might know fascinates me. As usual, I feel that the best manner to treat her is to let her have her own way as much as possible. She has a remarkable ability to make a character her own. She can brilliantly integrate this with her physical imagery. Her personality can give great individuality and meaning to her motion. Interestingly, another dancer in the chorus that accompanies her, reminds me of her. She's the woman in the dark olive dress (with doll, last to leave stage in opening scene) She has very fine body language. Cristian, Kaysta or someone else, do you know who she might be. She is featured rather prominently. From the opening moment, when she is somewhat kneeling, her sculpture is gripping. Also her motion has a very natural and expressive flow. Callie Manning ? Added: I would guess that the second dancer's very impressive posturing, etc. is of Alexei Ratmansky's invention. But it's also the way that she does it, that makes her performance so embracing.

I'm in California, Cristian, but we're all counting on you to make us feel as if we were there. Hope that you have a very good time !

Nous attendons.