Buddy

I'm going to try to make a donation to the bank account Monday. If it works I'll post the details on how best to do this. Many donations have been under ten dollars. Others have been for under $100. Several donations have been between $150 and $200. I'm guessing that much of this has come from the students. A few donations down from the picture of the two men in costumes and the woman you can click on "View [number changes] more comments" and then you can click on the "see more"s for a complete listing. https://www.facebook.com/academyvaganova/

Russian Academy of Ballet Vaganova Friends! Thanks to everyone who responded to the call for help Karine Soldatov and continues to do so! Karina acute leukemia, and she needs a large volume of blood and medicines for treatment. In the Savings Bank [Сбербанк] have an account - you can transfer money to the card: 4276 3800 6359 8994. With the note "For the treatment of Karina Soldatova" Here under this post, we will publish the names of those who transferred money to the card, so you do not worry! Here's the list of donators under the picture of the lady and the two men in costumes. Donations have generally been under $100 with two about $300 (20,000 rubles). https://www.facebook.com/academyvaganova/

I'm unable to copy this page to Google a translation. If you can post it from another dancer's site I might be able to copy it. 27,000 rubles is about $400.

From your post I was only able to access the first contact. The part that can be copied translates as follows (Google translation.) anna_skvorЛЮДИ ПОЖАЛУЙСТА ПОМОГИТЕ Нужно 100л крови Пожалуйста не будте равнодушными неё вся жизнь ещё впереди КРОВЬ МОЖНО СДАВАТЬ ЛЮБОЙ ГРУППЫ Google translation: anna_skvor ️LYUDI PLEASE HELP necessary 100l blood Please do not be ravnodushnymi her whole life still ahead Blood can be taken by any group https://www.instagram.com/p/BF3Rvg8IJeE/

In Sharule there is indeed some very fine choreography for the women (for the 'woods creatures' as well, if you relate to them). The corp's grand jetes across the stage are dramatically exciting and very artistically effective. Some of the village scenes are very charming, colorful and full of beautiful 'folklorique' imagery. There is a lot of touching poetry. Syuimbike and Ali-Batyr in the Kazan Opera and Ballet Theatre video that I posted have a lovely interaction. I don't know the name of the dancer, but he is a very fine partner in all respects. I suspect now might be the time to get back to our topic. I do recall very clearly when Natalia Osipova first appeared with the Bolshoi. I don't know exactly where she came from, but I don't believe that she trained at the Bolshoi school. But for me she was the perfect, high energy and exciting Bolshoi ballerina. As I've mentioned Svetlana Lunkina was her lyrical contrast. For the moment, this sort of distinction, for me, is much less important at the Bolshoi as it covers so many areas so beautifully and so effectively.

Drifting further off topic but I can’t resist, because it’s so lovely (with several pretty exciting moves) and she looks like a dreamy Viktoria Tereshkina. Here’s Kazan Opera and Ballet Theatre Principal Dancer, Aleksandra Elagina, dancing the final adagio from Sharule. It’s posted from her site. She get’s chased around by ‘woods creatures’ a lot but there are beautiful solos and duets in this ballet. I can’t find any official video clips of Evgenia Obraztsova doing anything from here.

Thank you very much, Fraildove, for all the very interesting insights from your complete posting. I, not having any technical experience or developed knowledge of ballet technique, go on general impressions. When I first saw Svetlana Zakharova she had just moved to the Bolshoi and she performed “The Pharoah’s Daughter.” Svetlana Lunkina also was in the same series and the comparison was very interesting. I was new to ballet and was much more awed than analytical -- still am. It was exciting and wonderful to see all these great artists for the first time. I felt, and still do, that Svetlana Zakharova, was so professionally perfected and danced so beautifully. There’s never been any doubt in my mind that she’s a star. I felt that Svetlana Lunkina was more cautious at times but extremely airy and lovely. I felt, and still do, that she was the most Mariinsky-like of the Bolshoi’s own ballerinas. The more I watched the two companies, the more attention I paid to the Mariinsky influence at the Bolshoi, being a real Mariinsky fan. As I’ve written above, all this changed, almost like a bolt of lightening, when I saw the Bolshoi for the first time on it own stage in April. All the ‘stars must have aligned.’ I’ve tried to describe some of this in my above posts. The Bolshoi came on like I’d never seen it before, a ‘Seamless’ merging of theatrical brilliance and beautiful refinement. My feeling for a long time, different from your professional insight, was that Svetlana Zakharova was a Mariinsky star transplanted to the Bolshoi, but still Mariinsky in essence. Her big transition, for me, as with other ballerinas, was after she had her child. She was back on stage at a London gala in a matter of months and I couldn’t believe what I saw. She was never in better physical condition and she was starting to develop a real depth of portrayal. A depth of portrayal is what I would associate more with the Bolshoi, yet as with Olga Smirnova, its so her own. I considered her development to be totally of her own doing. Now having experienced the Bolshoi in April at the very best that I’ve ever seen it, I feel that Svetlana Zakharova has in fact ‘absorbed’ some of its ‘manner and philosophy,’ and has indeed been merging Mariinsky and Bolshoi influences over the years in a very personal way. I’m very grateful for your different insight, Fraildove. You feel that her merger of the two ’styles’ has been there all along. Maybe what I’m noticing are the more recent aspects of this. It would be interesting to hear some more of the detailed similarities, differences and melding of styles that your comment, that I quoted above, refers to. I still have to emphasise my feeling that the Bolshoi (and the Mariinsky) as a whole has its own very personal identity and always will. Where all this goes would make for interesting discussion and observation as the company moves on with Makhar Vasiev. Added comment: Wishing you much success with your upcoming performances, Fraildove. With your very busy schedule, when and if you have the time to respond to my comments, it would be great to hear from you.

Here’s Evgenia Obraztsova (formerly at the Mariinsky) with Artem Ovcharenko from about a half year ago at a Kremlin Ballet Theatre Gala, “Ballet Stars of the 21st Century.” This is posted by the Gala site. She looks pretty good to me and I hope that we’ll be seeing a lot more of her at the Bolshoi with Makhar Vaziev (formerly at the Mariinsky) now at the company. At about 1:40 you can see Sergei Filin in the audience. Her performance reminds me of a benefit in Paris bringing attention to the need for earthquake relief in Japan a few years ago. She came on last at midnight. The program had started late, the audience was tired. She was like a Burst of Sunshine ! https://www.youtube.com/watch?feature=player_embedded&v=nnM1ZeTfcuI#t=0.311491026

SFCleo, I used to feel a greater difference between the Bolshoi and the Mariinsky, but since seeing the Bolshoi for the first time on its own stage my perception has changed. The performances were electric and the theatrical prowess and expressiveness, which the Bolshoi is perhaps most famous for, merged Seamlessly with the ‘adagio’ beauty. If there is a difference, its one that now has much less meaning for me. It didn’t really seem to matter. The Mariinsky is ‘quieter,’ more delicate and dreamy. The Bolshoi is more lively and expressive, subtly electric. They are both remarkably beautiful, refined and graceful. I now appreciate and love them both equally. I’m a great fan of the Mariinsky. I’ve probably seen ten times more of its performances than I have of the Bolshoi’s. I’m a great lover of its dreamlike gracefulness. As for the Mariinsky aura at the Bolshoi, my favorite ballerina is probably Svetlana Zakharova, who started at the Mariinsky and whose Mariinsky-like beauty has been my main attraction. I felt the same about the Bolshoi’s own Svetlana Lunkina. Another favorite is Evgenia Obraztsova, who had a long career at the Mariinsky. The lead ballerinas that I saw may have something to do with my not feeling a great difference. Anna Nikulina was the first Nikiya (La Bayadere) and her airy loveliness reminds me of Svetlana Lunkina. Svetlana Zakharova was the second. She, if anyone, has seamlessly and often very subtly merged the Bolshoi and Mariinsky styles. Finally, Ekaterina Krysanova combines dreamlike gracefulness with expressiveness and almost bravura virtuosity. Olga Smirnova, from the Vaganova, is perhaps the most fascinating. At the age of 23 or 24 she is already a Principal. I was greatly hoping to see her, but my tickets, bought before the casts were announced, did not include her. I did see her about a week earlier at the Mariinsky Festival doing an excerpt from Don Quixote. I gather that this was a work in progress because she doesn’t debut the entire role until London, this summer. By the time that it's ‘perfected,’ if it’s anything like the progression that she made for the two Swan Lakes that I saw her perform two summers ago in NYC, it will be A Masterpiece. I think that her career will be a remarkable one, perhaps one of the finest in ballet history. She has a quality that for the moment I can only describe as ‘Dimension’ — Immense Dimension. At this time, her Vaganova fineness seems somewhat less noticeable than her remarkable expression and theatrical prowess. This may be the result of a new world being opened, explored and mastered by her since her moving to the Bolshoi. But its her very own world. I’m certain that she could feature her Vaganova beauty anytime that she wanted to. I think that she can probably do most anything. Her merging of the two worlds, Vaganova/Mariinsky and Bolshoi, along with her totally individual ‘genius,’ may well be an artistic adventure of historical proportion. And it’s impact somewhat parallels much of what I felt about the entire Bolshoi company in April. I want to again quickly mention the Corps de Ballet. I’m not sure who is responsible, but its performances of La Bayadere were perhaps the finest Corps de Ballet performances that I’ve ever seen ! Sergei Filin, from a Bolshoi background, has brought in a lot of Vaganova/Mariinsky influence. It will be very interesting to see what Makhar Vaziev, from the Mariinsky, will do ? But the Bolshoi, I’m sure, will always stay absolutely itself and will always be one of the Greatest. Added comment: I think that Olga Smirnova should be paired up with Semyon Chudin as much as possible. It's "a match made in heaven."

SFCleo, the new and young faces scheduled to do Soloist parts are quite interesting. If I recall correctly when Alexei Ratmansky took over about fourteen years ago he completely redid the background (the Corps de Ballet, etc.).* They all looked as if they had just come out of the cradle. Now, perhaps, Makhar Vaziev is going to work on the top. The new Soloist landscape has also extended to changes made very recently to the London lineup. (Sophia at Dansomanie has listed them). One of the things that Sergei Filin did was to promote several (I believe) dancers to Principal level who had been around for awhile. Ekaterina Shipulina was one. This finally gave them their day in the sun, their well deserved recognition. I saw Ekaterina Shipulina perform about five years ago, well into her career, and I was delighted at how well she did and how young she seemed. Nina Kaptsova, I believe, was another. I saw her perform Giselle in 2011, before she was promoted, and I really want to include this comment that I wrote because I don’t believe this I ever felt like this before, or after. “I woke up the morning after I saw Nina Kaptsova and my mind was as light, calm and peaceful as it could be as I visualized her dancing as lightly as the air itself.” * Alexei Ratmansky also did some significant work at the top bringing in Natalia Osipova and Ivan Vasiliev, but when he tried to bring Diana Vishneva over as a Principal the company drew the line. Added comment: Sergei Filin also did some major work at the top by bringing over Olga Smirnova, Evgenia Obraztsova and Yulia Stepanova (and at a lower level, Xenia Zhiganshina) from the Vaganova/Mariinsky sphere. Olga Smirnova was a master stroke ! Yulia Stepanova and Xenia Zhiganshina were a recognition of very fine, young talent. Evgenia Obraztsova was a recognition for a long time of exceptionally fine, developed talent. Makhar Vaziev is certainly familiar with her from the Mariinsky and hopefully will feature her. Her performance of Swan Lake a year ago with The Royal Ballet in London was one of the finest that I’ve ever seen. Also David Hallberg was brought in, although the Bolshoi’s general director, Anatoly Iksanov, said that it was his desire that this should happen.

When I was in Moscow for several performances of La Bayadere in April, the entire company looked better than I've ever seen it. It was probably too early for Makhar Vaziev to have had a lot to do with this, but he certainly has good 'material' to work with. Added comment: The Corps de Ballet was Absolutely Outstanding ! Perhaps all this had to do with the company being on it's own stage and not having been just rushed in from the airport. In any case the company had a Combination of aliveness, excellence and togetherness that was as fine as I've ever seen anywhere.

Cristian, I agree with you totally about the Esty sisters. They were part of the family that extended into the audience, like the Delgado sisters. As I once wrote, I commented on them to a lady sitting next to me at a West Palm Beach performance and she said, “Oh yes, the Twins!” I remember them several times in Twyla Tharp’s “In The Upper Room” when they would intricately Blast(!) across the stage as a pair. It took my breath away ! And I’ve seen them do the same other times as well. I remember Edward (Villella) coaching Leigh-Ann to do this at an open rehearsal in Paris. He looked like a proud and happy father. They are indeed Loveable. And for the 'thousandth' time, I'll say it again. I hope that the Miami City Ballet holds onto and fosters as much of this sort of warmth and lovability as possible. Sara, I believe, is still the understudy for the lead in “An American in Paris,” which is on Broadway. When the show goes on the road she may get a lead. Leigh-Ann Esty posts her photography on the internet, so maybe she’ll devote herself to that. Ive never seen Zoe Zien. There’s certainly a place at MCB for “delicacy and fragility” to contrast the remarkable high energy aspect of the company.

In regard to Maria Alexandrova, that’s been my feeling to one degree or another, Deflope. Back then this can be seen somewhat, along with excellent technical prowess, on the first Pharaoh’s Daughter dvd featuring Svetlana Zakharova as Aspicia. I’m glad that you got to experience all those fine performances. To digress slightly, in the ‘maturing’ dancers’ increased artistry department, Maria Allash was very fine for two nights as Gamzatti in April. And since you also mentioned Svetlana Lunkina, who I thought was the Bolshoi’s most gracefully dreamlike ballerina, Anna Nikulina, who performed Nikiya (La Bayadere) last month, has many of these wonderful qualities.

I saw her perform Gamzatti (La Bayadere) at the Bolshoi (first time there, a real treat!) in April. I hadn't seen her in quite awhile. I think that with many 'maturing' dancers their strength is their artistry versus their technical prowess. Her artistry, in this case her characterisation, was Outstanding! I felt somewhat the same with an Odette/Odile (Swan Lake) that I saw her do maybe seven years ago. From my viewing experience, for this at least, as with other similar 'maturing' artists, she should be prized. I did see her as Raymonda with the Paris Opera Ballet about five years ago and thought that she was almost Magical with everything that she did.

Finished watching her on Amazon movie rental about a half hour ago. I thought that she did just fine and wish her much success and happiness. Maybe she'll keep up the ballet too. She was a Mariinsky dancer -- not to be sneezed at.

Having read more reviews and comments, I would like to briefly return to one idea that is central to me — ** Spark ! ** Most everyone writing seems to feel that the company looks very good. I agree. What made the company so special for me when Edward (Villella) was there was it’s Aliveness! (and can I add again, Lovability!) as well as its superior technical prowess and fine choice of programming. Along with this, loveliness, poetry and refinement are a key contrasting element. I saw this most recently in Jennifer Lauren and Renan Cerdeiro’s beautiful Divertissement duet from A Midsummer Night’s Dream. But above all, what I’m getting at — Spark and Aliveness — a built-in "Go For It"ness and Excitement -- are what made the company, for me, more than just another very fine one, but a Great and Immensely Enjoyable One ! And back to Simone Messmer for a moment. One reviewer referred to her as “Eloquent.” This is one very fine word to describe her.

I also greatly looked forward to her videos for the reasons that you mentioned above, although I've had the wonderful fortune of being able to get to Saint Petersburg each year to see actual performances. I'm glad that this dear lady was able to bring warmth and kindness to your life and that of others. I've met many others like her in Russia and I hold a special place for them in my heart.

I'm staying out of this one, completely. My *Simone Messmer* is *A Perfect Angel* at all times !

Pherank, based on only seeing her maybe six times, two of those being leads (MCB's A Midsummer Night's Dream) and one exceptional Gamzatti with ABT, and with what I've read up until the article that you just posted, including her lengthy interview with Gia Kourlas, I would have thought that if anyone was a "put me in coach!" 'I couldn't be more ready,' it was her. My feeling, and I could be totally wrong, is that not being given a big chance, time after time, she at times would doubt herself. I still feel that she essentially doesn't need anyone to tell her anything or give her any help, just a chance. Totally personal opinion with no behind the scene's knowledge whatsoever , but we are allowed to do that here and I'd be very glad to be corrected, or better yet, supported, by someone more in the know. I do have to agree, that "Hopefully now she's found a good environment...." and hopefully a great future. Added thought: I also get the impression that maybe she just doesn't fit the mold quite as much as some would have wanted her to. I think that this has also been Veronika Part's fate. In addition, there may have been some attitude issues as a result, maybe.

Pherank, thanks so much for finding this article from December, 2015. I thought that I’d read everything about Simone Messmer. I highly recommend it. One quote that stands out for the moment, "... [she] has found herself where she’s always wanted to be: in an environment full of rigor, in which studio exploration is as valued as a performance." She also seems to love the wonderful cheeriness of the Delgado sisters, a very good sign. http://dancemagazine.com/inside-dm/the-reinvention-of-simone-messmer/ It has to be the most insightful and sympathetic article that I’ve read since Gia Kourlas, a big fan, wrote another article, the first that I’d read, interviewing and high praising Simone Messmer about seven years ago. That article sparked my interest in her and when I saw her make several appearances with ABT in London and talked to her briefly at the stage door, I was hooked. http://www.timeout.com/newyork/dance/simone-messmer I’d already sensed from reading another quick reference to her, recently, that believing in herself could be a factor. In my mind, she excels as an ‘expressionist’ dancer, and, like theater, its a hard thing to grasp and believe in. It’s different than learning a codified technique, although I’ve read several comments on the internet from those who focus on ballet technique, that hers is quite respectable. She now has to learn another ‘codified’ style, the Balanchine one, somewhat different from the ABT one, that she used for ten years, most of her career. Apparently, from the article, she’s comfortable with this and doing well, although it requires time. I’ve seen her do several styles and thought that she was a natural at this sort of thing. For me, as an untrained, armchair observer, but one who loves what he sees and buys tickets to see her whenever possible, her strength still lies in her expression, her remarkable theatrical interpretations, that she can translate into dance wonderfulness. I hope that she, and those around her, will always believe in this and value it highly. I think that if she ‘stumbled’ around the stage, not knowing a thing about the required technique, that she could still, somehow, give a brilliant performance. In any case, she seems happy and confident now. Those around her seem the same. Great ! Along with ABT's Veronika Part, I think that she is one of the most fascinating and talented dancers in America.

Jack, with all the delicacy and good will possibly, I didn't mean that. Can I still keep my ticket money? I think that MCB might be the perfect place right now for Simone Messmer. Lourdes Lopez apparently made her a Principal without a second thought. I think that the innovative, and in my opinion very successful, programming of new works, along with the fine selection of Balanchine, was a hallmark of Edward's presence and one that Lourdes Lopez is trying to continue. For an artist such as Simone Messmer this could be great. And I would love to see her given as much freedom as possible.

Jack, I’m very glad that you liked what you saw as much as you did. I do indeed agree about the togetherness of the company. In regard to Simone Messmer, I’ve also seen her when she seemed to be feeling her way and still thought that she was brilliant. Her effort was so committed and her ability so apparent. This is how I feel about ABT’s Veronika Part. It’s built in. Even if they were to almost fall off the stage, I would probably think that they did great because their remarkable, inherent capability still shone through. I once wrote that if Simone Messmer doesn’t fit into a company then someone should create one for her. I’d do it myself except that it would cost a little more than a theater ticket. I think that there’s definitely a place for great individuality at MCB, as well as harmony. Edward (Villella), as a performer, apparently was an outstanding example. I think that Simone Messmer, also, will offer both, more and more. I’m glad that you liked Jennifer Carlynn Kronenberg so much. I’ve also seen her when she was absolutely outstanding, both in depth as well as in all out abandon. I wrote earlier, that the tribute paid to her and her husband, Carlos Miguel Guerra, by the cast and audience after their final Miami performance, was the most heart touching part of all that I saw there that weekend. Great photo, canbelto. Thank you. I'm catching up somewhat on my Balanchine history and for the moment Allegra Kent has stolen my heart.

It's about as high a recommendation as I can make, sandik, even knowing that what one person loves another might not. If Jack saw her and liked her then I can share his pleasure vicariously. If he did and didn't, then I'll put my money where my mouth is. It's money that I gladly would have spent to see her if I were there myself.

Jack, take theater glasses if you have them. Getting a close look at her facial expression might add considerably to what you see.

Jack, Simone Messmer is listed tonight for the lead in Serenade and is appearing in the second part of Bouree Fantasque. http://cdn.miamicityballet.org/wp-content/uploads/2016/04/MCB-Casting-for-Spring-Tour-at-Harris-Theater-041216.pdf You have plenty of time to run over and see for yourself. If you don’t like her, I’ll pay for your ticket. ​