Buddy

A Mariinsky News release. 01.02.2017 A premier of the ballet Paquita will open the XVII International Ballet Festival Mariinsky The XVII annual international ballet festival will run at the Mariinsky Theatre from 30 March to 9 April 2017. In line with tradition the opening will see a premiere – Édouard Deldevez' Paquita with additional musical numbers by Ludwig Minkus and Riccardo Drigo. Yuri Smekalov is working on the new production, while Marius Petipa's choreography of the Grand pas is being reconstructed by Yuri Burlaka. The St Petersburg premiere of the ballet Paquita in 1847 (a transfer of the Paris production at the Bolshoi (Stone) Theatre was Marius Petipa's first work as a choreographer in Russia. Having undergone several revivals, which saw the addition of individual dance numbers, the ballet remained on the playbill for a long time. In the Soviet period the full version of the ballet vanished from the repertoire – only the bravura Grand pas was retained, to this day remaining a "jewel in the crown" of ballet evenings. The first performances will take place at the historic Mariinsky Theatre on 30 and 31 March and 6 April. For the fifth year in a row the festival will present projects of the Creative Workshop of Young Choreographers. Talented choreographers, so well-loved by St Petersburg – Vladimir Varnava, Ilya Zhivoi and Maxim Petrov will present their joint production Dreamers to music by the French group Daft Punk. The costumes, in a first collaboration with the Mariinsky Theatre, are being created by acclaimed Russian designer Igor Chapurin. The cast of the workshop's participants will be supplemented by American choreographer Garrett Smith, Brazilian dancer Guilherme Maciel and Olga Vasilieva, winner of the young choreographers' competition as part of the festival Context. Diana Vishneva (2016). Maxim Petrov will also present his second work Incantations set to music by Alexander Rabinovich-Barakovsky (4 April, Mariinsky II). Once again the festival will host the Perm Tchaikovsky Opera and Ballet Theatre. The guest company will be performing Tchaikovsky's Swan Lake, staged by Alexei Miroshnichenko (5 April, Mariinsky Theatre). The festival's playbill will feature Mariinsky Theatre repertoire productions with guest dancers from the Bolshoi Theatre and the Dutch National Ballet – Romeo and Juliet by Sergei Prokofiev with choreography by Leonid Lavrovsky (1 April, Mariinsky II), La Bayadère by Ludwig Minkus staged by Marius Petipa and revised by Vladimir Ponomarev and Vakhtang Chabukiani with individual dances by Konstantin Sergeyev and Nikolai Zubkovsky (2 April, Mariinsky Theatre), Don Quixote by Ludwig Minkus with choreography by Alexander Gorsky after motifs of the production by Marius Petipa (7 April, Mariinsky Theatre) and Jewels by George Balanchine to music by Gabriel Fauré, Igor Stravinsky and Pyotr Tchaikovsky (8 April, Mariinsky II). On 9 April the XVII International Ballet Festival Mariinsky will conclude with a Gala Concert, as part of which the company will present Anton Pimonov's new work, as well as a classical Divertissement featuring lead Mariinsky Theatre dancers and guest stars (Mariinsky II). https://www.mariinsky.ru/en/news1 (Thanks to Olga K at Mariinka for finding this) Added: What I'm most glad to see is the return of Maxim Petrov (his forth year) to The Creative Workshop of Young Choreographers. For me, his two major works have a delightful resemblance to Jerome Robbins' more cheerful creations. Along with Yuri Smekalov's Bronze Horseman, last year, his work is the perhaps the finest of all the new Russian choreography that I've seen.

You're very welcome, Drew. I can't really answer your question and it's a good one. There's very little information about the Festival except for the schedule posted Friday. If I find out anything about Paquita I'll let you know. I saw Yuri Smekalov's "adaptation" of The Bronze Horseman last year and was very impressed with his choreography, so no matter what approach he takes there's a very good chance of having another very fine presentation. Below are his comments about The Bronze Horseman. They do give a nice insight into his way of seeing things and perhaps a clue about what his Paquita will be. 23.03.2016 Yuri Smekalov about The Bronze Horseman On 31 March [2016] the XVI International MARIINSKY ballet festival opens with a premiere of the ballet The Bronze Horseman. Production choreographer Yuri Smekalov speaks about the new ballet. The new Bronze Horseman is not a reconstruction of the ballet which was premiered in 1949 at the Kirov Theatre, it’s a new stage version of Rostislav Zakharov’s famous ballet. I developed the concept of its adaptation for modern times with a wonderful artist, the designer Andrei Sevbo. His taste, poetic nature and romantic associations with stage space, I believe, are very suitable for a ballet about St Petersburg. Having worked with performers of Rostislav Zakharov’s ballet I understood that in the duets and in the interrelationships of the characters in The Bronze Horseman there is so much that is sincere, honest and simple! I think that audiences today have been missing that. The ballet has a dramatic text, there is technically demanding dancing, and in terms of choreography we have expanded most of the solo roles. In my production I am trying to retain Zakharov’s choreographic idea, but I want to show it in a different light so that the ballet has meaning for the audience today. The most difficult thing in working on this ballet for me has been the level of responsibility. If you’re creating a completely new work then it’s the case that you’ve conceived it and you answer for it. But here I’m working on a production that was very dear to certain people, and for many the question naturally arises – why did they trust me specifically to return it to the stage? I want to produce the ballet in such a way that both the older generation and young audiences feel warmth in their hearts when they see it, I want them to see that today we are just as dedicated to our profession as those who convinced and charmed the audiences with their work were when this was the Kirov Ballet. I am responsible to all these people, I represent the younger generation, and accepting that is, arguably, the most worrying thing of all. Yuri Smekalov http://www.mariinsky.ru/en/news1/ The only casting information is that the Perm Tchaikovsky Opera and Ballet Theatre will be performing what is probably the highlight of any Mariinsky Festival, Swan Lake. This will be the first time that an entire other company has been given this. I saw them perform at last year's Festival and they did a fine job. Swan Lake is quite a prize. Here are part of the Paquita credits, which you might have read, although they are somewhat hidden away. They might give you a further clue. Music by Édouard Deldevez, Ludwig Minkus and Riccardo Drigo Libretto by Yuri Smekalov Choreography: Yuri Smekalov Reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas): Yuri Burlak https://www.mariinsky.ru/en/playbill/playbill/2017/3/30/1_1900 (Click on "Credits")

I sort of fell into this discussion, not until now really following it, because I'm such a fan of Veronika Part that reading about her reminds me that I'm not actually there when I really would like to be. Thank you very much for your comments, Kaysta. I've seen six of Veronika's Swan Lakes. Not living near New York I haven't seen nearly as many as I would want, but I have timed and routed trips elsewhere just to do this. I consider Anna Pavlova (based on all I've heard and one video clip) and then Galina Ulanova to be perhaps the two greatest ballerinas ever. Many ballerinas today have immense beauty of dance, but something that these two had, in addition, is what might be called 'transcendence.' Several of today's ballerinas have a similar quality. Veronika Part is perhaps at the top of the list. I would also loosely include Simone Messmer (Miami City Ballet, formerly ABT) and the Bolshoi's Olga Smirnova as she develops from her very young age. One interesting thing that I would like to relate is from the last time that I saw a Veronika Part Swan Lake about three years ago. Cory Stearns was her partner and he had progressed greatly in a year. For the first time ever, I sensed that Veronika Part was very intentionally stepping back somewhat to highlight her partner, perhaps out of respect or affection for what he was doing. For me, she so completely commands the stage, even with Marcelo, but this one time she seemed to step back. Her performance, as always magnificent, would probably have shone even more if not for this. I considered it to be a very generous gesture. [I apparently confused Cory Stearns with James Whiteside and corrected the name]

Since Svetlana Zakharova performed "The Sleeping Beauty" the night before, I've been particularly interested in the comparison. There are two video clips of Olga Smirnova and Svetlana Zakharova (about a year earlier?) performing the same solo from this work. Two details, from so many beautiful ones, really capture my attention. The placement of the head by Olga Smirnova and both their use of the hands. Olga Smirnova pays a great deal of attention to nuancing the position, placement timing and focus of her head for subtle yet outstanding effect. Her head tends to lead and highlight the rest of her motion. Both ballerinas use their hands beautifully. Svetlana Zakharova's seem to extend out more giving them a very clean, refined appearance. Olga Smirnova's fingers don't reach out as much and this is one instance where watching a live performance and a video can make a great deal of difference. In this case the video lacks three dimensions and the beautiful detail of Olga Smirnova's finger placement can be less noticeable because the fingers are not as extended. They also have a lovely wavelike quality. I'm sure that if I continue to watch these two clips (which I won't post because they aren't official) I'll see much more comparable beauty.

Here it is. 30 March Paquita 31 March Paquita 1 April Romeo and Juliet 2 April La Bayadère 4 April A Creative Workshop of Young Choreographers 5 April Swan Lake The Perm Tchaikovsky Opera and Ballet Theatre 6 April Paquita 7 April Don Quixote 8 April Jewels 9 April Ballet gala Click on performance for casting. https://www.mariinsky.ru/en/playbill/festivals/fest_2016_2017/ballet_fest_234

It's really good to read about things like this. I feel, ideally, that dancing should be as healthy and enjoyable a pursuit as it is an accomplishment. At the least, it should be done in as healthy a manner as is possible.

There's much discussion here about Olga Smirnova's recent Sleeping Beauty cinema broadcast. Svetlana Zakharova's name inevitably appears. She actually performed the same work the night before, which prompted a lot of discussion and comparison at Ballet Friends, the largest internet ballet forum in Russia that I know of. There's also a cinema broadcast planned in a week or so of Swan Lake that I believe will be a repeat of her performance from about a year ago (?). Olga Smirnova is new, fresh, exciting and immensely talented. She gets a great deal of my internet attention. One reason is probably just as I mentioned. She's new, fresh.... In addition, she comes over very well on video. Svetlana Zakharova, when I've seen her on stage, has been immensely impressive. The video performance that I've greatly appreciated is her wonderfully enjoyable Pharaoh's Daughter. (I haven't seen the second recording). I saw her perform La Bayadere live at the Bolshoi about a year ago and the audience response somewhat said it all. Everyone seemed to embrace her, know her intimately and took it for granted that they were going to see greatness. She was their performing queen and the highly enthusiastic response throughout was a totally assumed, intelligent, unwavering and heartfelt acknowledgement. There seemed to be no question that she was very special and perhaps, above all, she was one of them. I thought it was an exceptional performance. They assumed it would be. Perhaps the major quality that has impressed me in her stage appearances is her command. She seems to naturally belong to be front and center. When I became of huge fan was when she returned to the stage almost immediately after giving birth to her little girl. It was a gala in London in honor of Galina Ulanova and I could almost not believe what I was seeing. She was more fit than I'd ever seen her and her expressive ability had hugely matured, something not uncommon in ballerinas that I've seen after maternity leave. Interesting enough this was the first time that I saw Olga Smirnova, still a Vaganova student, and it was evident that she was a great talent. Svetlana Zakharova, for me, now represents a striving for perfection. But you have to have sensitivity and soul as well. This she has, although perhaps in a more subtle manner. Her dance is graceful loveliness at its finest and her presence is indeed compelling. Many consider her the finest ballerina today. I would probably have to place Ulyana Lopatkina as at least her equal, with such younger ballerinas as Olga Smirnova and Oxana Skorik commanding a great deal of attention. They are all tall, linear, statuesque beauties with amazing art and dreamlike enchantment. Overall, I have to come back to one major feeling. Svetlana Zakharova, in her assumingly non-assuming way, simply commands the stage like no other. I don't like to say who's best. I don't really think that it matters. In so many ways, I love them all. Svetlana Zakharova is certainly one that I enjoy immensely and hope that we see much more of.

Thanks so much, Snail, for your very kind comments. The reason that I inserted "Equally important might be to just sit back and enjoy." at the end of my last post, besides hopefully being the truth, is to remind myself of something. I feel that sometimes if I try to define something carefully then that becomes what I look for and judge a performance by. In fact, other things may be just as important and enjoyable. So it seems important to keep an open mind and take in as much of what's happening as possible beyond what we have committed ourselves to. For me, Olga Smirnova is a very young, extremely talented and intelligent artist, who is very noticeably exploring, experimenting and growing as well as refining. In a case like this, it seems very important to keep an open and flexible point of view because so much of diverse interest and value is still in the stage of development. Added: For instance, in a recent interview she discusses her participation in Jean-Chistophe Maillot's version of "The Sleeping Beauty." This will be yet one more something of interest to keep an eye on. She says, "Jean-Christophe moreover asked us to immerse ourselves completely in the action and to co-exist with the other dancers onstage at that moment. Whereas in classical ballet a dancer is mostly concentrated on themselves. I’m trying to bring this new perspective to the role of Aurora now, to find different connections with the four prince-suitors, Prince Désiré, even with the Lilac Fairy." http://www.ilona-landgraf.com/2017/01/olga-smirnova-on-the-sleeping-beauty/

A few more thoughts. Olga Smirnova's Aurora is a study in linear beauty, as is so much of what I admire in Svetlana Zakharova. They both create wonderfully long lines or silhouettes, wonderful shapes together with their exceptional beauty of motion. For example, regard the creative and remarkable structure of Olga Smirnova's finger placement or the subtly and brilliantly thought out positioning of her head, emphasised by her elegantly beautiful long neck. Oxana Skorik seems to fill in the lines with a richness of inner detail, a poetic intricacy of lyrical motion. Olga Smirnova also fills in (and amplifies) her silhouette or shape but with a richness and detail of expressiveness. Her character and the forms and motion that define it project. She reaches out to us, both mentally and physically. I would think that she could accomplish what Oxana Skorik is so beautifully developing, having been a Vaganova star student, but has chosen (personal choice and Bolshoi theatrical emphasis) a more expressive manner. I find both approaches to be equally satisfying and extremely beautiful. Added thought: Perhaps I could say that Oxana Skorik draws us in to focus on the essential beauty of her dance. Olga Smirnova more uses her totality to reach out. Equally important might be to just sit back and enjoy.

Having just had a few internet glimpses of her Sleeping Beauty performance I'm most impressed, once again, by her dimension. Her classical fineness is so apparent along with her remarkable theatrical prowess. This is a combination that brings to mind Alina Cojocaru and some of what I've seen Alina Somova accomplish. I like to make ongoing comparisons between her and Oxana Skorik. For the moment Olga Smirnova has wonderful projection. Also her purity of dance is so evident in her statuesque posturing, her clarity and her attention to nuance and detail. All this she projects radiantly. Whether she is looking you in the eye or composing an image with her back turned, it's expressively gripping. Oxana Skorik, for the moment, is a study in lyrical loveliness. She has shown remarkable ability at times to portray and perform technical breathtaking feats, but for now her emphasis seems to be on the poetic beauty of motion, making her one of the most gracefully lovely ballerinas today. She goes more inside herself, letting the lyrical beauty of her dance predominate. Another ballerina that I like to compare with Olga Smirnova is Svetlana Zakharova. In the most recent stage performance that I've seen her do, about a year ago, I was very taken by her artistic maturity and perfection. Olga Smirnova is much younger in terms of performance age and one of her excitements is her exploration of possibilities, somewhat like Diana Vishneva. Olga Smirnova's perfection or fineness of dance I'm sure will become even more evident, but she'll probably develop an equally impressive range of expression. Watching her and the wonderful artists that I like to compare her with, Oxana Skorik, Zvetlana Zakharova and Aiina Somova, for instance, because of their similar statuesque fineness, refined beauty of motion and expressive capabilities, is a treasure of an experience. It's living art, in many ways at it's finest, and it's enchanting. Added comment: Semyon Chudin is such an excellent partner for her. He's so sympathetic, supportive and capable.

Yuri Grigorovich's The Stone Flower is being performed this month. Here is some official footage of him coaching the dancers. He will be 90 in January, Viktoria Tereshkina appears in the last third with a constant smile. She is supposed to be a lovely person to work with. https://www.youtube.com/watch?v=7irLgQ17bmU

Creatvity is a fascinating and beautiful thing, Drew. Balanchine used a great deal from other styles and other arts along with his own genius invention to create his very special and personal art. I've seen the famous groups from America perform Balanchine and I love the feel of 'authenticity,' of being close to the source, of capturing the original intent. On the other hand I love the 'interpretations.' With the Mariinsky, as I wrote above, for me, they're just so beautiful.

I've never seen the Bolshoi perform Balanchine but I have seen the Mariinsky. Especially with his lyrical work, such as Symphony in C, I think that these dancers are exceptional. You might call it a 'cover version,' but it certainly is beautiful. Someone at another forum, who also posts here, once suggested that Balanchine would have gladly reworked it for the Mariinsky dancers, as he did for his own dancers. Then, maybe, it would be officially authentic.

I've never been to the Alexandrinsky, Cristian. It's good to know that it perform ballets. I went to the Conservatory (Rimsky-Korsakov Saint Petersburg State Conservatory) across from the Mariinsky once and saw a very nice Swan Lake for about $15. The inside was rather modern and plain, but I believe that it's being restored. In addition to teaching classical music students they also teach some ballet instructors, who were the performers. The music was some of the finest that I've ever heard, although I'm not that familiar with classical orchestras. It's good to hear the nice comments about the Mikhailovsky. It does have some artists at the Mariinsky/Bolshoi level and there is a limited transition of artists between the Mikhailovsky and the other two theatres. Still, I feel that the Mariinsky and Bolshoi are overall in a very elevated class of their own and would certainly try to see them. A belated thank you, naomikage, if you're reading this, for the information about Ulyana Lopatkina and Alina Somova not performing this season. Both are exceptionally fine artists.

Here is a quick look at Amandine Albisson (with Mathieu Ganio) who will be alternating the beginning Odette/Odile's with Myriam Ould-Braham. Amandine Albisson will be dancing six performances and Myriam Ould-Braham will dance the official opening night (last night) continuing through the entire series with a wonderfully welcomed eight performances, that include one Friday and two Saturday nights (one being Christmas eve). Great ! http://culturebox.francetvinfo.fr/danse/danse-classique/un-eblouissant-lac-des-cygnes-en-avant-premiere-pour-les-moins-de-28-ans-249889 [Scroll down about half way. Thanks to Math at Dansomanie for what seems to be an officially sanctioned look at the public performance the day before the formal opening]

So as not to start a fan panic, Ekaterina Kondaurova is scheduled for two performances this month. Do you know why the other two aren't dancing, Naomikage ? Barbara, Mariinsky tickets can be easily obtained on the internet from the theater at normal pricing, which is usually much less than an agent would ask. As soon as the performance is announced tickets are available at the performance's internet site. You can get a ticket printout by email. For instance, here's January. https://www.mariinsky.ru/en/playbill/playbill/?type=ballet&year=2017&month=1

Not knowing how long your friend will be in Saint Petersburg, I have to agree with Drew about waiting to see what the Mariinsky adds. In January, for example, there is a ballet almost every day, sometimes two. Also they tend to vary the performances, seldom showing the same work more than several times in a month. A few years ago, If I recall correctly, they never performed the same work two times in a row, and offered a large variety each month.

I did see a very lovely Odette/Odile at the Hermitage who I believe is one of the regulars. You usually don't know whom you're going to see until you get there and then you have to ask one of the managers. Birdsall is correct in that the stage is quite small supporting only a small number of swans. Ten could be correct. Still, a very fine and enjoyable performance can happen. The orchestra is usually heart touching. The Mikhailovsky is a beautifully restored theater, but as Birdsall says, there is only one theater building with the look and aura of the old Mariinsky. The Mikhailovsky stage is smaller than the Mariinsky's, but as I recall they can still get a fair number of swans onto it. It also has some very fine stars (some coming and going). Leonard Sarafanov (formerly Mariinsky) is still probably the main attraction.

Barbara, I don't have time to get into this in depth for the moment and haven't read the full discussion, but I would like to mention something. From my experience the Mariinsky and the Bolshoi are simply in a class of their own. I would see them first. The only place that they might not necessarily excel is in modern works after the time of Balanchine. If your friend really wants to see a full length classic (Swan Lake) at this time then the Hermitage should be fine. This and similar theatres do have some very good artists and the performance would probably be very enjoyable. Added comment: Having just very quickly read Drew's response, I would perhaps totally agree. The Hermitage is a very small and charming 'jewel box' theater. It charges the same prices as the Mariinsky and although many(?) of the dancers may come the Vaganova (the Mariinsky 'school') it's not the same as the Mariinsky. Occasionally an 'upper level' Mariinsky dancer might come over to do an evening.

It seems like Oxana Skorik is dancing a different lead almost every week. These are the ones that I noticed in November. The only Swan Lake of the month -- Nov. 15 Sleeping Beauty -- Nov. 23 Giselle -- Nov. 26 Her 'demise scene' from Giselle appears to be taking on a great deal of character, as much as she's exhibited in quite awhile. It has a more subtle, yet artistically compelling depth. Her dancing remains as beautiful as ever and seems to even improve with each new reprise. I would compare her's to some of the finest Giselle renderings that I've seen -- those of Alina Cojocaru and Ekaterina Osmolkina for instance.

Looking around the ballet internet after an incredibly beautiful visit for a month to southern Africa, I've discovered (a completely new name for me) Nika Tskhvitaria. She apparently graduated from the Vaganova in 2015, went to the Stanislavsky and is now with the Mariinsky. Among other things she has been cast as Princess Florine (Bluebird duet, Sleeping Beauty). She seems to be absolutely lovely and youthfully alive. Another remarkable young dancer, who won second place in the Vaganova competition, is Eleonara Sevenard. She danced the Odile duet (Swan Lake) at the competition's closing gala and already seems to be a star, comfortably and wonderfully performing a segment from perhaps the most coveted role in all ballet -- Odette/Odile. The Vaganova and Mariinsky seem to produce incredible artists like apples on a tree. It's quite amazing and quite wonderful. Anyone know any other new names to keep an eye on? Elena Evseyeva has recently been cast as Giselle. She is a beautifully alive dancer, not necessarily known for subtlety of dance, but still having the Mariinsky fineness. She is continually showing an ever more apparent and impressive depth and sympathy of portrayal. I was very taken by her lovely and heart touching rendering in The Bronze Horseman and she now has brought an embracing soulfulness to her Giselle. [thanks to Sophia at Dansomanie for the background information about Nika Tskhvitaria]

I've been looking at the POB schedule for December and for those fans of Myriam Ould-Braham ( moi ! ) there is very good news. There are 19 performances of Swan Lake and she is dancing six of them. She is featured for all the Saturdays, except one, and for the only Friday. There are three other ballerinas also performing. I've only seen this beautiful and charmingly charismatic ballerina once on stage (La Bayadere) but I was captivated, especially by the dreamlike final Act. I've also seen video clips which made me want to see her on stage for years. She has been with the company for a long time and was finally promoted to Etoile (Principal). Many wish that they could have seen her much more than her apparently limited number of performances allowed. Maybe she will now be featured often. Aurelie Dupont (POB Director) was the coach for the La Bayadere performances and perhaps she further realised how exceptional an artist Myriam Ould-Braham is. I wish her much future success.

I'm so glad to hear this and that you and Cristian enjoyed them so much. I've always liked Kleber Rebello. Great poetry in his performances. As I wrote earlier this year, Jennifer Lauren's Divertissement from "A Midsummer Night's Dream" (with Kleber Rebello) was, for me, perhaps the most beautiful performance of the three days in Miami.

I was not able to be at these performances and may not be able to see any MCB this year. Still I would like to add a comment about Simone Messmer. There are several ballerinas that absolutely fascinate me. Simone Messmer is one of them. Olga Smirnova (Bolshoi) and Veronika Part (ABT) are two others. These are ballerinas that I would rearrange my necessary travel plans to see. I did so last year for Simone Messmer. I hope to be able to see much more of all of them.

Congratulations, Cristian. I'm sure that she'll be as kind and nice a person as you are.