Buddy

Interesting article about Valery Gergiev's decision to stop repairs on the historic Mariiinsky Theatre, especially in light of his construction of the new theatre. I happen to like the new theatre, although I'm totally sympathetic with wanting to maintain the charm and authenticity of historic architecture during restorations at which I think that Russia excels, based on my viewing. This is a partial google translation. “Recently started repairs in the Mariinsky Theatre has been stopped for an indefinite period by the decision of the Director Valery [Gergiev]. “Gergiev said that many times acted in historic buildings, which came after the update in the "new" with the disgusting smell disrepair and lost its historical appeal, so the director does not want the same fate could befall the Mariinsky.” https://nevnov.ru/465209-v-peterburge-na-neopredelennyi-srok-otlozhen-remont-mariinki?_utl_t=fb (thanks to Sveet at Balletfriends (forum from Russia))

Volcanohunter, I have heard that the "tough love" approach can exist with some coaches. I've also read comments about loving coaches, both inside and outside Russia, whose artists have achieved exceptional results. These coaches seem to be much loved and highly respected and appreciated in return by the artists. Added comment: I also read an interview with a famous dancer from Russia who implied that it wasn't necessarily easy, but that Vaziev would give you a chance to pursue your own direction and challenges. He could also be communicated with, which was not always the case with others, the artist felt. Vaziev, in recent interviews, has said that he is very willing to give artists a chance 'to prove themselves.'

I don't know the inner workings of the Miami City Ballet when Edward Villella was there, but the dancers always seemed remarkably relaxed and happy. They also performed brilliantly, which seemed to support the idea that you don't have to be uncomfortable and pressured to produce greatness. I do recall an article, which I could possibly retrieve if necessary, where Vaziev says that he would never humiliate one of his artists. I hope that this is the case. I've seen him at several Mariinsky Festival receptions and an after performance stage discussion and he always seemed relaxed, pleasant and complimentary to his artists. At the receptions, the dancers also seemed quite relaxed and appreciative in his presence.

Yes, this does seem to finally be the case, Jayne. I haven't read the article, but this is the first sentence google translation. "Prime Ballet [Principal Dancer?] of the Mariinsky Theatre after fourteen seasons in the St. Petersburg troupe joined the Bavarian State Ballet and moved to Munich with his wife, ballerina Maria Shirinkina and son." http://www.sobaka.ru/city/theatre/49209#fb I hope that they will return to St. Petersburg as much as possible. Vladimir Shklyarov being given opening season performances at the Mariinsky does seem encouraging.

Oxana Skorik, very happily, is listed for several performances this month. (performances listed under her photo) https://www.mariinsky.ru/en/company/ballet/principals/baleriny/skorik1/ I continue to feel that she is perhaps the most basically lovely and graceful dancer, after Ulyana Lopatkina, that I've ever seen live. Occasionally noted for technical inconsistencies, she also has been capable of some of the finest technical prowess that I've seen. Another one of the Mariinsky's loveliest dancers, Maria Shirinkina, is not yet listed, although her husband, Vladimir Shklyarov, also not yet listed for any future performances, did open the current Mariinsky season. I'm hoping that we'll be seeing much more of both of them at the Mariinsky. Since I've mentioned graceful airiness at the Mariinsky, one ballerina outside the Mariinsky, the Bolshoi's Anna Nikulina, continues to impress me very much with her similar loveliness, as did the former Bolshoi ballerina, Svetlana Lunkina.

Apparently Vladimir Shklyarov will be performing at the Mariinsky for the two opening nights, at least, of the new season, according to his instagram site. “Friends, in St. Petersburg, I will open the New season with the /react-text @mariinsky react-text: 47 theatre in ballets of Mikhail Fokine. September 30th, " Schéhérazade " and October 1st will be released in miniature "Le Spectre de la rose" . https://www.instagram.com/p/BKje3IKgnim/ (Thanks to Sophia at Dansomanie for finding this.) Added: I'm having some problem getting this posted correctly, but the word "I" should be included in italics (if my correction from the russian is correct) ....." I will open the program." ("открою" = "I will open")

Thanks, everyone, for the videos and comments. Here’s some background from her obituary (invoking my feeling of sadness that she's no longer with us) in “The Gardian.” “More important than any prize was the attention she attracted from Ulanova and from the great teacher Asaf Messerer, who said his interest was because of her "interpretative qualities with its spirituality, clarity and musicality of the dance". Encouraged by Ulanova, she went to Varna again in 1970 and won the only gold medal, thus garnering overnight international acclaim. (A gold at Varna in those days had Olympic prestige.) “Evdokimova had danced with Nureyev on many occasions as a guest and also as a member of his own group, Nureyev and Friends,…. https://www.theguardian.com/stage/2009/apr/09/obituary-eva-evdokimova On second viewing I’m very impressed by the clarity and sculptural beauty of her dancing (especially in her legs) in the “La Sylphide” video posted above by MakarovaFan.

I've never seen or heard of her before, but sometimes first impressions may add some interest. I've watched the above clip and some Giselle that followed. Her hands are beautifully expressive. They float wonderfully and definitively reflect her character. She also has a fine sense of theater. I would consider this to be very 'English.' She has a fine, perhaps even 'Shakespearian,' sense of drama, both in her portrayal and in the way that her dance becomes an extension of this. This even seems kind of modern. It has a sense of TV or motion picture, of being close-up. I've seen this sort of thing with dancers such as Tamara Rojo and continue to watch with great interest how Xander Parish (formerly Royal Ballet (England)) merges this with Mariinsky fineness.

As posted by dirac, Sara Esty will perform the lead role of Lise Dassin and Leigh-Ann Esty will be her alternate in the “An American in Paris” touring company. Great news ! http://www.theatermania.com/broadway/news/an-american-in-paris-announces-touring-cast_78051.html [spelling correction made]

I've seen her as Kitri (Don Quixote) and thought that she had a wonderful lively quality as well as some exciting technical ones that both went very well together. Last April I saw her in the debut series of “The Bronze Horseman” (I liked it very much) and she was once again able to exhibit a fine technical prowess, which this work requires, with a delicate loveliness, both in her solo/partnered dancing and her captivating portrayal, which I wrote at the time stole my heart. I wish her much success and happiness.

Following the discussion of musicality at the Yulia Stepanova “Dancer” topic http://balletalert.invisionzone.com/index.php?/topic/37737-yulia-stepanova/page-20 I’ve been reminded of a fairly recent video clip of Oksana Skorik in which I find her to be more beautiful than ever in a new and different way. Here is SFCleo’s comment from the Yulia Stepanova discussion. “As a musician, I've always been impressed with her [Yulia Stepanova] musicality, i.e. Her ability to use the music in her dancing. To my eye, there is a sophistication in her dancing - a lack of "beatiness" -- that may be mistaken by some as not being "on" the music. Among solo musicians, it's ok to play with the beat for expressive purposes so long as you get to the down beat in time (if you are not intending to make a ritard.)” My sense when I first saw the Oksana Skorik video was how integral she was with the aura of the performance, how totally committed she was to feeling and expressing it, being a part of it. After having read SFCleo’s comment I noticed how important her response to the music was. Even before reading this, I noticed where Oksana Skorik several times seemed to momentarily stop in the middle of the music and just let it pass through her, speak for itself. Other things that I’ve noticed, as I have with the Yulia Stepenova video, include her working ‘around’ the music. She, and possibly Yulia Stepanova, can use one part of her body to accent one musical highlight, while another part carries the overall flow. For instance, her back stiffens to catch and suspend a highlight, while her arms flow along with the continuity. There are many other beautiful plays on the rhythm that are part of this delightful, totally immersed and magnificently absorbing interpretation.

In response to this informative and supportive view I took a look at a fairly recent video clip representation. I’m very impressed with how she responds to the music. There’s so much to watch and so much to take in, that I can only give an initial and partial description. What I notice for the moment is how she seems to feel the music. It seems to pass through her. She responds to the instant as well as dances in a prearranged manner. Both show her interpreting or using the music in a most sensitive way. She does not seem to always be on the beat, but as SFCleo has said of some musicians, she works with the beat, using variations for personal artistic expression. I’ve been watching a similar video clip of Oksana Skorik and have been very impressed for many of the same reasons. I would like to touch on this at her own “Dancers” topic. http://balletalert.invisionzone.com/index.php?/topic/36167-skorik/page-32#entry372569

I've been going to Festival performances there for three years and I do agree with you, Cristian. The inside is modern, but warm in feeling (lots of wood in the auditorium) and the onyx wall and Swarovsky lighting fixtures in the lobby are fine statements in restrained elegance. The main staircase is very impressive and the views from the second story picture windows of the historic surroundings are very atmospheric and lovely. I think that the exterior could be blended in more with the historic surroundings. This could be accomplished over time with slight modifications, if desired. Since there is a plan for a plaza(?), etc. to connect the old and new theater this might do the job.. Having been in Moscow for the first time in April, I was impressed by the way that many of the new, glass buildings, fit in with the historic ones. The designs often have streamlined, but interesting shapes, that echo somewhat, their older, more decorative neighbors. The auditorium is extremely comfortable and works just fine for me. The seats are very comfortable. They are also staggered and the floor is sloped so that no one's head is really blocking your view, which can be the case in the old theater. I sometimes wish that the more traditional works were performed primarily in the historic theater, but have no complaints. Once the lights go out, the performance becomes everything, no matter where it is, if the stage settings work and are appropriate, and they are. Also the orchestra pit can be elevated and as theatrical as it may seem, when the musicians, men in tuxes (absolute Fred Astaire), perform the entr'acte from The Sleeping Beauty, it's pure magic. Somehow, the artists are able to make the transition from one stage to the other, instantly and seamlessly. I just sit back and assume that the Mariinsky can do anything.

All I can really say, Madame P, is that my heart goes out to her. I can only wish her the best outcome possible.

I'm now back in the US and had a look at the Vaganova Facebook site. Looking through very quickly, searching for her name in russian, the last mention I find is dated June 9. “Thank you all for your help Karine Soldatova ! Karina has passed the first round of chemotherapy, now there is a period of rehabilitation.” (Google translation) On May 30 there is mention of about $15,000 (total?) having been collected. https://www.facebook.com/academyvaganova/ I wish her the best health possible and will continue to try to follow this along with the donation situation.

Not having been a really close follower of the Bolshoi, the effect of this post is just beginning to settle in. It is quite interesting and exciting. I like the parts of it that I’m more familiar with very much. I’m also trying to become more familiar with some of the names that I didn't know about. Anna Tikhomirova She is one dancer that I am somewhat familiar with and have liked since the first Bolshoi (not related to the company) ballet dance competition on TV. I’ve also seen her in several secondary stage performances. In addition, her general outlook on things, as expressed in this brief interview, has left me with a warm regard. “Artists, after all, exist to bring goodness into the world.” http://rbth.com/arts/2014/07/25/bolshoi_dancers_ballet_is_the_art_of_overcoming_oneself_38535.html Scanning the internet to find out more about the new names, I’ve been very impressed with what I’ve seen of Anna Tikhomirova. She has a lively, expressive quality that I would have associated with my previous, more limited perceptions the Bolshoi, and she also has a lovely, linear airiness and a warmth of expression that’s her own. I put her linear gracefulness in a loose stylistic grouping that would include Ulyana Lopatkina, Svetlana Zakharova, Oxana Skorik, Nina Kaptsova and others. Recent recognition of her beauty and range is shown in her very contrasting debuts as Princess Florine (Bluebird duet) and the White Cat from “The Sleeping Beauty” and her very encouraging debut as Giselle later this month. As an aside, one somewhat fascinating occurrence, for me, is the debut (long ago she apparently did a different version, as pointed out by Sophia at Dansomanie) of Maria Alexandrova as the Sylph in "La Sylphide." I’d love to see how this goes and wish her much success. A lot of this seems to be of Makhar Vaziev’s doing and along with posters at this forum and others, I’m liking it very much.

Margarita Shrainer is a completely new discovery for me. Based on very limited viewing of several video clips, I like her very much. She has a lovely, airy gracefulness, similar to that of Svetlana Lunkina and Anna Nikulina, and a very fine sense of theater. This is reflected in the diversity of lead debuts that she’s recently received. As mentioned, she just debuted in La Sylphide (delicate and dreamlike), did the same about a month ago in Flames of Paris (probably highly dramatic, I haven’t seen it) and is scheduled as Kitri (Don Quixote, delightfully animated) in London this summer. Once again she represents a seamless combination of grace and theatrical excitement, that the entire company possessed and so impressed me in April.

You're very welcome, sandik. I’m glad that you enjoyed it. I just watched it again and I really like the way that the excerpt highlights the one series of Tyler Peck’s entrechats (fluttering of the feet). They’re so fairylike and so well define the magic of the entire work. “A Midsummer Night’s Dream” indeed. They are such a touch of Balanchine at his most delightful. I recall Alessandra Ferri (well named for this one) and Ethan Stiefel’s Titania and Oberon duet from the Ashton version which had this same wonderful feeling. Whenever I mention the ABT Ashton’s “The Dream” I always have to single out Herman Cornejo as Puck, which happily is documented for posterity on the video. I saw him do it live a few years later and it hadn't lost a thing, As great as Shimon Ito was with his Balanchine version in Miami and Seth Belliston was on the PNB video, Herman Cornejo’s is probably his masterpiece and perhaps untouchable in comparison.

If anyone has some sort of confirmable address for her, maybe Western Union could be used.

I did receive a response from the Vaganova Academy as how to make a bank transfer donation through the Academy's account. It's a little complicated but all the information seems to be there. Being away from easy access to my bank I won't be able to do anything for about a month to tell anyone else interested how it goes. For this information you can email to.... academy@vaganovaacademy.com

Thank you all. I have looked at the Russianballetvideos2 video and although the person’s intent seems good, I have to mention that this poster is a very controversial one (making very severe video attacks on the Mariinsky Ballet's current administration). The poster does say that large donations should be made by normal bank transfer routing through the Vaganova Academy and gives their contact address. info@vaganovaacademy.ru I have just emailed them an inquiry. Added: I've also just sent a second email to the Vaganova Academy asking if Paypal can be used, as suggested by Mme. Hermine. Added added: Natalia, I continue to keep your advise above in mind. Thank you. And one more: Karina Soldatova does seem to be getting a very good response from small donors in Russia according to the Vaganova numbers posted. This is heartwarming.

I've emailed the Vaganova Academy asking for specific information on how to make a direct bank transfer. Does anyone know who a good person might be to contact there and their email if possible? Does anyone here know how best to make a donation? This is the information that my bank says that it has to know about the bank in Russia handling this. Swift Code The bank name and address IBAN Bank account name and account number

In three days there have been about 200 donations. About half are less than $10 and the other half around $15 (1,000 rubles) or slightly more and a few over $100. My very rough estimate is that this would pay for about seven "courses of chemotherapy".

I mentioned way back that the loveliest performance in Miami, for me, was probably the final night’s Divertissement duet with Jennifer Lauren and Renan Cerdeiro. This duet is also, for me, one of the most beautiful in all of ballet. Possibly the most beautiful performance of this that can be seen on video is on the dvd of the Paciflc Ballet Northwest’s version featuring Louise Nadeau. I just happened to find this very brief but lovely excerpt with Tyler Peck & Jared Angle, the only look at this duet that I’ve seen on the internet. (It's posted by the performance site.)

There was a 45 minute broadcast yesterday in russian with excerpts and comments from this year’s Festival. Replay starts at 1:25 into video. http://telepoisk.com/peredacha-tv-archiv/803144516/27-5-2016 This is the program in french. (posted by Sophia at Dansomanie) - la première du Cavalier de Bronze de Youri Smekalov - La Bayadère, avec Mai Nagasahi, de l'Académie Princesse Grace, Kimin Kim, Oksana Skorik et Hannah O'Neill - Le Lac des cygnes [swan Lake] avec Héloïse Bourdon et Timour Askerov - la venue du Ballet de Perm (interview d'Alexei Miroshnichenko) - la création de Benjamin Millepied - la soirée de Diana Vichneva en hommage à son professeur Ludmila Kovaleva, avec notamment Olga Smirnova et Olga Esina - la soirée des Jeunes Chorégraphes, avec Maxim Petrov, Andrei Merkuriev, Ksenia Zvereva, Ilia Jivoi