Buddy

Jack, I also liked the slightly more feel of abandon that existed when Edward (Villella) was in charge. There was a certain spark and excitement in addition to the excellence. He taught this "jazziness" (as I believe he called it). I saw him do it at his open to the public training session during the Paris performances. It was more fun and almost as exciting as the actual and outstanding performances. The dancers, and the audience, seemed to be having the time of their life. Once again, the sense of family, delight and love of what they were doing shone through. The company seems a little more ‘refined’ at the moment. This is just fine, but I do like the traditional ‘high energy’ of the company. This is one of the things that made it so special, for me, and this may now be best seen with the Delgado sisters, who I hope are as high profiled as possible along with dancers like Jennifer Lauren, whose absolutely lovely Divertissement duet from A Midsummer Night’s Dream reminded me of all that I love so much about the Mariinsky. I don’t know how you feel about Simone Messmer, but I adore her ! Her two lead performances in A Midsummer Night’s Dream, I thought was brilliant, but also subtle. I think that it might be best to let her ‘run wild’ if possible. This is where she has the freedom to try whatever she likes, and this is where I think that she’s a Genius ! I can’t fault the company at all. I think that it’s excellent and I think that Lourdes Lopez is doing as good a job as she can in merging her perception with what she inherited. What she inherited, though, was super special to me. I’m a Mariinsky, and now Bolshoi, devotee, a rather different world of ethereal grace and refinement, but I was excited by MCB from the first and liked and prized it at almost the same level. I hope that that something special will always be there and be valued and nurtured as much as can be.

Please delete. I posted here by mistake.

Sounds fine to me. I checked the Bolshoi's internet casting list for La Bayadere and you're absolutely correct.

In addition to what I’ve written above, there is surely a sense of exhilaration, of transcending beauty and happiness that is also an artist’s reward. Folks who live in possibly difficult circumstances, as I sensed in places along the ride from Saint Petersburg to Moscow, surely have their own sources of love and happiness as well. Maybe, for some, such things as the ballet are part of this. In Russia, especially, this is quite possible. It’s all part of what gives our world its ‘soulfulness.’ No matter what the journey may involve, artists such as Yulia Stepanova Yangurazova give beauty to our world —- and hopefully to their own as well.

This is something that I'd like to express and this is probably as good a place as any, for what it's worth. I attended several performances of La Bayadere at the Bolshoi (first time ever to be at the Bolshoi) just before those of Yulia Stepanova Yangurazova and Olga Smirnova and they were all —- Outstanding ! I bought my tickets before the casts were announced and was mainly hoping to see Olga Smirnova and Svetlana Zakharova. I did get to see Svetlana Zakharova. For my first time visiting Moscow (I’ve been to twelve Mariinsky Festivals) I took the fast train. It’s about four hours and assuming a speed of maybe 150 miles per hour, average, I must have travelled about 600 miles. The center of Moscow was a very pleasant surprise —- alive, often very beautiful and prosperous. Many of the little settlements that I saw from the train did not seem as fortunate. They at times seemed rather marginal (not terrible, but marginal). I don’t know to what extent this is typical in Russia, but it surely exists to some degree everywhere. One feeling that has occurred to me is what a lifetime experience it could be for someone living in these conditions to have seen even One of the remarkably beautiful and heart touching performances that occur regularly at theatres like the Bolshoi or Mariinsky. If I was living in one of these little settlements it would surely be something that I would never forget — an often very right headed attempt to display the beauty and love that humanity is capable of. The voyage of Yulia Stepanova Yangurazova has been a dramatic one. She has been the object of so much drama, not of her own doing. I think that the most recent videos make it totally clear what an exceptional artist she is. She now has her chance to really shine and I wish her all the success possible. In a way, her story seems so a part of what I’ve mentioned above. Viktoria Tereshkina once wrote that she works so hard because it means so much to so many. She said that one lady wrote her saying that she is going without a new dress in order to see her perform. This to Viktoria Tereshkina made what she does worth all the effort and commitment.

Really wanting to further discuss Simone Messmer’s outstanding performance, Jack’s mention of the word “character” makes for an opportune segue. Thanks, Jack. Simone Messmer It’s the characters that she creates that so fascinate me. She is one of the finest high theatre ballerinas that I know of. I usually watch a lead ballerina’s face with theatre glasses even from the front rows. Last week, like never before, I didn’t take my glasses off her face even at times while she was standing in the dark. I think that in these series of performances it was essential for totally appreciating what she was accomplishing. Her facial expression was brilliantly meaningful, theatrically exact and compelling. What’s even more important to us is that it carried right through to her finger tips. Usually I focus on the upper body where I feel that most of the expression and meaning come from. When she made a statement with her face -- her shoulders, arms, hands and fingers continued the message. They dramatically reinforced the character. They were powerful and articulate statements. I’ve only seen her in a few other performances but I was enthralled from the first. She had such a presence and such a manner of delivery. Her most impressive role, for me, was her Gamzatti from La Bayadere. Everything, from her characterisation, to her dancing, to her eyelashes and use of costume, was definitive, intriguing and enthralling. Her recent Titania from “A Midsummer Night’s Dream” was, for me, a much more subtle affair. Her dancing was fine and articulate in itself, but, as I’ve said, you really had to see her face close up to grasp where it all was coming from. Also, from the attention that I could give, her shapes were sculpturally exquisite. Her moves were not as flowing and fluid as Jennifer Carlynn Kronenberg’s Titania or Jennifer Lauren’s lovely, lovely ‘mariinskyesque’ Divertissement duet ballerina. Perhaps it was a stylistic choice because she was performing Balanchine. I don’t recall this from her Gamzatti. In any case, I don’t think that for Simone Messmer that it really matters. She is so remarkable in so many ways. Each new character that she creates is an adventure in the highest level of dance artistry. One other character that I forgot to mention in my first post was the Butterfly. Perhaps this performance is a given in excellence because I thought that it was the same young lady each night. Actually it was Nathalia Arja the first two nights and Ellen Grocki the last. The choreography helps in that their motion is very graceful and flowing in contrast to the other butterfly dancers. Both these young ladies were absolutely charming and delightful in their aerial fineness. [spelling correction made]

I saw all the performances and drove up and down the State of Florida each day to do so. This is my first chance to get on the internet. I’ve not had time to see any other posts, but here are some quick comments and impressions. First of all, it was a pleasure to meet Cristian (“cubanmiamiboy”), a very nice person, and briefly his mother, a very attractive lady. The heart touching highlight was after the final curtain and Jennifer Carlynn Kronenberg and her husband, Carlos Miguel Guerra’s, final performance. Members of the audience starting throwing flowers and applauding. Then what seemed to be all the members of the cast came on stage in a single line, all carrying flowers. The loveliest performance, for me, was probably the final night’s Divertissement duet with Jennifer Lauren and Renan Cerdeiro. She was absolutely lovely and he was at his poetic best. Simone Messmer is simply a phenomenon and a star. She performed the first two nights and was subtly brilliant and captivating. She will probably be the new standard for the company which is slightly changing in look and feel. This should be just fine, but I also continue to hope that the best of Edward (Villella) and the presence of those who shined with him will be preserved as much as possible. Shimon Ito, Puck, was outstanding. Kleber Rebello, Oberon, was also excellent doing entrechats after entrechats. I remember when he and Renan Cerdeiro started with the company. Kleber Rebello was very impressively bravura and Renan Cerdeiro was highly poetic, which I especially enjoyed. Both were quickly made Principals and both now seem better than ever. I thought that Michele Oka Doner’s new underwater sets and costumes were extremely beautiful. They worked very well. I thought that the entire production was lovely. I wish it and the company much success.

I'll try to be there if I don't get tied up with some of my old friends. Cheers!

Ditto. I've only watched the first half, but she looks just fine. Added: That the Bolshoi hired her says a lot.

Me too. I may even try and make the hour’s drive for the other two if I can get tickets. Ah, dear Ballet Alert! I’ve been searching for casting for weeks. Couldn’t find it at the MCB site, but here it is. Thank you! It’s been several years since I’ve seen the company. I bought my ticket months ago hoping that Simone Messmer would get a lead. She could be great as Titania, really great! The Divertissement duet is one of my favorites in all ballet. I would really like to see her in this as well. I’ve never seen her do something very delicate and would love to. I also would like very much to see Jennifer Carlynn Kronenberg. Edward (Villella) in one of his pre-performance talks said that she, as much as anyone, was his ideal for the company. I’ve seen her do some profound performing and wish that I would have had the chance to see more of her. Tricia Albertson and Renan Cerdeiro are two others that I look forward to seeing. Another primary reason for going, I went to college with Michele Oka Doner. I have to hope that her sets and costumes are a smash success!

Hee Seo is the only guest ballerina that I can recall for the moment being asked back to a Mariinsky Festival to perform a second major lead except for the remarkable Alina Cojocaru, who performed six(?!) and was perhaps the overall star of all the Festivals.

To see partial Festival casting go here and click on each performance. http://www.mariinsky...allet_fest_233/ (Thanks to ElenaK at Dansomanie for finding this)

This will be part of the Mariinsky Festival. Oxana Skorik will dance “La Bayadère” with Kimin Kim. I saw Hee Seo dance "Giselle" at the Festival two years ago and thought that she was excellent.

I'd like to add a few more words about Oxana Skorik that might present a slightly different point of view. I've seen her perform on stage maybe twenty times or more in the last five years. I can understand the feelings of many here that she isn't always technically "consistent'. I've seen this myself but I have to say that I've seen it in two other ballerinas, two of the finest of our generation. Overall Oxana Skorik has become much more technically 'consistent.' In fact she has performed some amazing technical feats. But to my point. For me, she has such a *Basic* fineness, that in my viewing experience it has totally eclipsed everything else. But much more interesting to me is that some of her finest efforts have occurred at her most difficult moments. She has had to reach to the limit and the results have been outstanding. I've seen her do flawless performances and I have to say that some of the times that she's had to struggle have proved absolutely breathtaking. Added thought: These so called difficult moments did occur several years ago, not recently. I would never wish that she would have to face them again no matter how outstanding the outcome. I hope that whatever happened in DC of this nature will be a passing thing. Yet I would also want to say that a great performance does not necessarily have to be a flawless or technically perfect one.

I'm glad that you enjoyed all the things that you did, Dreamer. In general I share your comment about Oxana Skorik. In fineness of dance, for me, she is perhaps only second to Ulyana Lopatkina, and I sometimes see other expressive qualities in her that make me think that she could be an equal. I consider Ulyana Lopatkina to be perhaps the finest ballerina of our generation and perhaps one of the top five finest in history. Your other statement above resounds. I've seen several performances of Angelin Preljocaj’s “Le Parc.” Viktoria Tereshkina and Yekaterina Kondaurova were featured. Both were excellent. Whereas Viktoria Tereshkina was interacting, Yekaterina Kondaurova seemed to be floating through on another plane. "....aristocratic from head to toe, the center of attention for rival protagonists and the audience alike," would be one very good way to describe her. I hardly noticed anyone else.

Very glad to hear about Yekaterina Chebykina. I like her very much, although in the several Costa Mesa performances, for me, Oxana Skorik in two performances did eclipse everyone with the artistic fineness (no mistakes that I noticed) of her dancing except for Kristina Shapran’s vey brief appearance. So glad to hear that Yekaterina Kondaurova did so well. I always appreciate Danila Korsuntsev very much. Anastasia Kolegova should be technically outstanding (watch for her cambre(?) backbends), and delightful.

From several of the Costa Mesa, California performances, Kristina Shapran's very brief Clemence solo was perhaps the highlight. Watch for it tonight. I enjoyed all the secondary solos very much. Oxana Skorik's dancing was classical elegance at its finest. Hope that you all have a great time !

Swanilda8, I join Drew in thanking you very much for all these finely presented summaries. I appreciate very much your translations. Again this is very generous of you. Your range of description is also very impressive. Can I ask where you accumulated so much knowledge? I do definitely have my own opinions on all this. I'm watching the show regularly as it's now one of the few chances to see current excerpts from these great companies on the internet. The comments from you and the judges add to the appreciation and enjoyment. Thanks again.

I like Renata Shakirova more each time that I see her on the Bolshoi Ballet program, but interestingly more as a modern expressive dancer than a classicist. I’m sure the classical refinement will develop, perhaps it’s already there and I just haven’t noticed it yet. I am very impressed with her ‘contemporary’ sensitivity, the looseness, shaping and emotion of her dancing, perhaps as good as any I’ve seen in a classical dancer. I hope that she is able to sustain this as the demands of classical refinement increase. Also mentioned by Swanilda8 in her blog that can be found at the Bolshoi Ballet discussion: http://balletalert.invisionzone.com/index.php?/topic/41034-bolshoi-ballet-tv-program/ “Xiao Suhua [a judge] really liked the performance today. Shakirova is light and gentle. (Ilze then interrupts to remark that she can’t believe nobody mentioned that Shakirova did a double assemblé. Ruzimatov agrees that he’s never before seen such a thing from a ballerina and congratulates her).” Apparently she has considerable prowess as well. Added comment: Brigitte Lefèvre, judge and former Artistic Director of the Paris Opera Ballet, gave quite a look of approval after her performance of Wayne McGregor’s duet from “Infra” in today’s Bolshoi Ballet program. In this type of work Renata Shakirova is very well matched with her partner, Kimin Kim.

I saw Maria Kochetkova perform Swan Lake last summer with ABT and her Odette/White Swan duet was one of the finest that I've ever seen. It had a masterpiece quality. Her moves were so remarkably constructed as if a painting by Leonardo or other great classicists had come to life. It was high art of the highest level. Leonardo http://img09.deviantart.net/d94d/i/2012/116/1/4/davinci_masterstudy_angle_from_virgin_in_the_rocks_by_charfade-d4xmbsw.png

Since the discussion of Kimin Kim brought me back to this video, I’ve taken a renewed interest in it. I’m watching it primarily for its abstract motion and drama. The work is by Vladimir Varnavas and Swanilda translates it as “Stone Beach.” http://tvkultura.ru/video/show/brand_id/59616/episode_id/1267537/video_id/1432892/viewtype/picture/ The image that remained last night was of Kimin Kim being the background for Renata Shakirova with his very impressive bravura and virtuosity. Her shapes are front stage and compelling. He not only frames and positions her, but also creates an exciting backdrop. For me, the choreography, while ‘weighty’ in emotion, is also very interesting in structure and has fine sensitivity. It’s equally well performed. Renata Shakirova has a nice looseness of motion that seems very suited for a contemporary work. Some linear moves are evident, particularly in Kimin Kim. A few of his moves are more ballet looking (this may be specifically asked for by the choreography) but all have an elegance and intensity that work very well. Even when he’s standing still at the beginning this is true because of his facial commitment and tilting forward. He has a fine sense of drama, both in motion and positioning, along with depthful and compelling facial expression. His motion and positioning are very articulate and brilliantly structured. Renata Shakirova is especially noteworthy for her dance and does have some fine moments portraying a youthful innocence. Swanilda writes about Kimin Kim in her blog summary. “….for the first time I felt that I really understood what he is capable of as an artist. He uses his body judiciously, every movement of muscle contributing to the overall form of the dance. There seems to always be one spacial point around which he is focusing his movement. When his fingers fan out, they show a clear line back to his wrists and then in towards his spine. He also changes the pace of his movements to match accents in the music. The concentration and emotional connection in his interactions with his partner sustain the piece.” I’ll watch more carefully for all of this although I totally agree with “He uses his body judiciously, every movement of muscle contributing to the overall form of the dance.” Both these artists have classical excellence along with a wider range. I feel that Kimin Kim can ‘explode’ into a much wider artistic range, when he desires to. [one sentence slightly changed for clarification and spelling of Vladimir Varnavas' name corrected ]

I see Kimin Kim as being an Expressionist powerhouse. I think many comparisons will be made between him, Rudolph Nureyev and Mikhail Baryshnikov. Yes, Swanilda, he does excel in bravura, both in dance and character, but he does it with an immense poetry that is totally his own. In ballet, where letting the ballerina shine in a partnership is given very high consideration, he walks an intricate line, as do many male stars. He does his very best not to overwhelm his partner, always trying to direct the attention to her even after his most breathtaking moments. He is such a one of a kind that I believe he really should be accepted for what he is. He may develop more subtlety, which would be great for his classical career. On the other hand I could visualise him even going solo someday becoming a remarkable phenomenon of dance theatre. Kabuki or Shakespeare meets ballet, perhaps. He goes beyond East meets West. Once again. I also like Renata Shakirova's very expressive dancing. http://tvkultura.ru/video/show/brand_id/59616/episode_id/1267537/video_id/1432892/viewtype/picture/ [video added]

I have to be somewhere else this morning, but I’d like to make a quick comment. I’ve heard that first impressions are sometimes the best, so here they are. I’ve only had time to watch the first five performances, but these include the most recognised dancers. Ekaterina Boulgoutova and Yuri Koundreavtsev (Krasnoyarsk), seventh place couple, continue to really hold my admiration, in particular Ekaterina Boulgoutova. They dance a duet from Yuri Grigorovich's "The Stone Flower." They may be slightly the more tentative couple, perhaps explaining their seventh place. Also they generally have done the shortest performances, making me wonder. Maybe it’s about their range? Yet Ekaterina Boulgoutova has some lovely qualities that for me make her highly enjoyable. These would be youthful freshness and naturalness combined with beautiful presentation. They both seem quite young so time to mature should be in their favor. Yet, even their slightly youthful ‘looser edges’ have an attraction. I watch the first part of their second performance, a reconstructed Odile duet from Swan Lake, as much as any other ballet video on the internet, and there are some very fine ones. With so much excellent ballet talent in Russia I hope that they are still able to get the best guidance and resulting recognition that is possible. http://tvkultura.ru/video/show/brand_id/59616/episode_id/1269696/video_id/1436568/viewtype/picture/ [Added the official video release along with the other performances]

Thanks again, pherank. I was just about to watch some Disney teenage surf movies (with some darn good dancing) that I love. I now live in Palm Springs, the beach without an ocean, but I can still dream.

Thanks, pherank, for posting this. Having lived in San Francisco this also brings back many nice memories. In this documentary she walks down to the ocean, she says, to be with her roots. I recall Simone Messmer, when she was with the company, saying that she enjoyed the same sort of thing. There's about 15 seconds at 16:10 where she dances 'ballerina free style with nature' along the beach. I love this kind of dance and wish that there was much more of it. She seems lovely and shows some beautiful artistic qualities in this documentary that I hope to see on stage some day.