Buddy

Thanks, sandik. I think that I understand what you are saying and will try to keep it in mind. Probably Helen's comments best speak to the immediate issue. I wish the Dance On Pilot Project: New Creations For Dancers Aged 40+ as much success as possible.

Hi, sandik. I was actually thinking of Wendy Whelan, the person, when I wrote that she "does not look or act 47," but I could probably say the same about much of her artistry. Still, I'm not sure that I totally understand the question in your last sentence. Perhaps you could clarify it somewhat for me if you have a chance. If my point of view might confuse you, I'm not sure that I totally understand it all myself. I think about age a lot, probably like many of us. I love the joy of being Young. I live with the physical reality of age, but I try not to get 'old' (as in 'less able') any more than necessary. Sometimes I see it as changing gears or emphasis. I like the idea of someone being as 'ageless' as possible. So perhaps, when I write about the value of maturity, I might see it as better understanding and appreciating the value of youth and Aliveness. In any case, it's meant to be a positive point of view for keeping life (and artistry) as alive and joyful as possible. [typo correction made]

Thinking more about what I believe Helene is proposing, roles that can actually start at the beginning of dancers' careers and continue well on into their maturity, I have a somewhat different idea for a Dance On Pilot Project. Why limit it to Age 40+? Youth has wonderful beauty, sensitivity, perception and ability, so why necessarily separate it from maturity? Perhaps make a project an uninterrupted continuum. I don't mean to diminish the merit of this program at all and I wish it total success in displaying the value of mature artists. Programing for an uninterrupted continuum, on the other hand, is another way of looking at this that might have merit. Since the Dance On Pilot Project is proposing a structure and looking for material I thought that this recent interview with David Hallberg about his Innovation Initiative project might have some ideas worth considering. Gia Kourlas, the interviewer, starts: “Choreographic workshops have become the fashion at ballet companies, but they’re not a mindless trend. Finding choreographic talent and keeping dancers challenged is serious business. American Ballet Theatre, in a new partnership with the Arts Initiative at Columbia University…. “And there are so many dancers in its general studies department. Columbia Ballet Collaborative was started because there were so many former ballet dancers enrolled.” David, in answer to other questions: “It’s really just about the exploration and the questions—not just those that the choreographers pose to the dancers, but vice versa. “It poses a challenge for the dancers, because in ballet we’re spoon fed choreography, and I don’t necessarily say that as a negative thing, but Alexei Ratmansky has his vision, and Chris Wheeldon has his vision. There are famous collaborations, Wendy Whelan being the most obvious one where she is putting her own voice into Chris’s choreography or Alexei’s, but rarely are we looked at from the person creating the piece and told, “I want to see some improvisation.” It’s challenging, too, when you’re used to the ballet-world rehearsal and performance process. When it’s shaken up.” http://www.timeout.com/newyork/blog/david-hallberg-on-abts-innovation-initiative Added: Why have dancer input into establishing the structure and the material? For one reason, as the Dance On Pilot Project puts it in its announcement: "....mature dancers are especially capable of reaching the intellectual and emotional depths of choreographic material. Their radiance and impressive interpretative powers expand the audience’s dance experience by a key dimension." Added added: There is also a challenge here for the mature artist to be able to stand side by side with a younger artist, not be apart and to shine as brightly, perhaps as youthfully. Wendy Whelan, for one, to me, does not look or act 47. She's much more youthful. This is something that Diane had to face and she made her career decision accordingly, but her career isn't over. It includes teaching, choreographing and maybe new artistic horizons.

I'm glad that you, as a former ballet dancer and the mother of two dancers, like this idea, Diane. I think that Helene proposed it in her quote: "If there aren't roles to grow into and be compared to other people who've done those roles, and it isn't in the mindset of the dancers that these roles are valuable, not the consolation prize, there's no incentive to continue." I believe that it was George Balanchine who said to one of his dancers that five or six rotations is fine "after that they start counting." Added: Also there's the fact that the dancers have already grown, there's just not the proper place for them to continue showing this after their physicality has slowed down, which is what the project that is the subject of this discussion hopes to 'remedy.' [last word changed]

So perhaps in dance, this implies that roles could be created from the outset that can grow somewhat indefinitely. A young dancer could assume the role but the long term aim would be artistic growth, as few, if any, dancers grow in physical prowess in their later years. Thus the roles would have to be physically less demanding and more artistically promising. Added: I do some figure skating (perpetual beginner stuff and I use a helmet) and I sometimes wonder if I could make a 1/2 rotation "waltz jump" as rewarding as today's competition four rotation jumps. Added added: This idea is not so strange, since in ballet your rarely, if ever, see a dancer attempting more than a double rotation jump, although I'm sure many are capable of it. I'm certain that I've seen competition level skaters doing triples in their off ice practicing.

This does look like a very interesting statement, Helene, if I understand it correctly. Are you supporting the idea that roles be created for maturing (and older) artists? I do have to say, though, that there is always room for growth in the roles that you listed, if the physical requirements don't leave the 'maturing' artists out of the running. [typo corrections made and sentence two slightly reworded]

Ok, I guess that I'll have to start choreographing. Maybe such efforts as the Wendy Whelan/Christopher Wheeldon collaborations can move things in this direction. I also like the idea of young dancers staying young and healthy. Thanks again for your 'insider' insights. I can really understand and sympathize with what you say in regard to your own choices. So let's see what the future brings. Hopefully something good for everyone.

I think, sandik, that it's a matter of keeping things on an equal scale -- physical challenge and artistry/expression. Physicality seems to be very prevalent now. Maybe it's time to think about artistry somewhat more. Galina Ulanova, if I recall one video correctly, could barely get her jumps off the ground by today's standards, but after Anna Pavlova, she is perhaps the greatest ballerina ever. (By the way, I believe that she was still perhaps the best in the world in her fifties.) Diane, thanks very much for your insights. I gather that you were a dancer. Do you think that more focus on artistry, less physical demand, might have lengthened your career? Would it be worth considering for today's dancers in terms of an overall performance quality?

The mention of Angelina Vorontsova sent me back to an 11:34 video clip of her Act II Giselle, posted June, 2013, which has impressed me very much. Waelsung and/or abatt, if you have a chance to look at this, maybe you could tell us how it compares to what you saw.

Thanks, volcanohunter and sandik. You both have made very good points. Let me just add this for a slightly different emphasis. “But in a way, despite her success, [Wendy] Whelan was a late bloomer. She has said many times that it wasn’t until she started working with Christopher Wheeldon, in the early aughts, that she began to sense her own voice as a dancer. She and Wheeldon had danced together, and now she helped him find his way as a choreographer. The calligraphic lines of her body—the long, linear arms, the aristocratic Roman nose, the sinewy legs—became the basis for his style. Her diamantine edge softened into something more interesting: thoughtfulness, introspection, and a kind of self-knowledge.” http://www.newyorker.com/culture/cultur ... an-retires

http://www.vanityfair.com/online/daily/2014/11/an-american-in-paris-rehearsal-video?mbid=social_retweet (thanks to BalletcoForum) I’ve got my ticket for opening night. I’m excited. (​I might not have internet access, but I'll try to post something within a few days.)

The idea of reducing the physical challenges even with such 'staples' as Swan Lake is certainly doable. It goes against the seeming current trend of making even the classics more and more physically demanding, but the tradeoff might be highly increased artistry. It's up for discussion, of course. Mikhail Messerer, Mikhailovsky ballet master-in-chief and member of the famous family (Asaf Messerer, Maya Plisetskaya….) alludes to something like this in a recent interview. “Nowadays all dancers watch YouTube—they are taught by YouTube more than they are taught by their teachers and they pick up good things and, unfortunately, bad things too. But technique has improved tremendously as a result; you can watch yourself…. but from a dramatic point of view, expression is not always as it should be.” http://www.timeout.com/newyork/dance/mikhail-messerer-on-the-mikhailovsky-ballet (In his quote you might substitute the wording 'physically demanding technique' for "technique" and 'artistry' for "expression" and arrive at a similar conclusion. This would generally favor older, more mature dancers.)

That's a challenge for the dancer and the ensemble, which has a larger set of concerns. That's one of the reasons that people seem to create separate companies or projects, rather than integrating these dancers and works into the rep of a mainstream company. Maybe "mainstream" companies could change their priorities or the nature of some of their works, somewhat, and benefit greatly.

Still, most dancers seem to ponder their next career. It sometimes seems that if they could just lighten up on some of the physical demands they could add on another ten years. Added: Wendy Whelan might prove to be an excellent example. Sylvie Guillem, whom I'm not that familiar with, may have accomplished this.

This is something that I have a great deal of sympathy for. DANCE ON PILOT PROJECT: NEW CREATIONS FOR DANCERS AGED 40+ WHAT WOULD IT BE LIKE IF EXCEPTIONAL DANCERS DIDN’T RETIRE AT 40 BUT CONTINUED SHOWING THEIR GREAT ART ON STAGE? The image of dance is stamped with the extraordinary ability of young dancers. There are almost no choreographies that are suitable for the changed physical conditions of older dancers and very few dance companies that employ dancers aged over 40. This is a loss for dance and society, as experienced, mature dancers are especially capable of reaching the intellectual and emotional depths of choreographic material. Their radiance and impressive interpretative powers expand the audience’s dance experience by a key dimension. DANCE ON creates a unique perspective on the development and presentation of this artistic potential. Internationally renowned choreographers and artists will be working with dancers from the project ensemble to create DANCE ON 1st EDITION, a basic repertoire of works for dancers aged over 40. The DANCE ON FESTIVAL, with commissioned productions, international guest performances and a symposium, will mark a highlight of the pilot project. The DANCE ON 1st EDITION will tour nationally and internationally and reach a large audience. The cross-generational educational programme DANCE ON LOCAL, which will accompany the performances on the road, will generate sustainable socio-political stimuli in the local area. DANCE ON will create strong alliances with co-production partners – on an national and international level. These alliances will ensure the DANCE ON concept is implemented sustainably and make an active contribution to establishing a dance repertoire 40+. http://www.diehl-ritter.de/en/danceon

Along with the Bolshoi's Olga Smirnova (Vaganova graduate) I consider these two ballerinas to be among the most interesting in the world. They are both extremely talented. But even more, they have both performed one of the greatest performances that I've ever seen. Alina Somova's exceptional La Baydere was then surpassed by her amazing 'Swan' (Fokine) at this year's Festival. (I would not let the video of this be the final word). Yekaterina Kondaurova's remarkable performance of All the leads in George Balanchine's Jewels at the previous Festival was also 'a greatest.' As for 'most interesting,' I never know exactly what to expect. Yekaterina Kondaurova is perhaps the most consistent in fineness of dance. Lidewij, if it was her London Swan Lake that you saw, I waited at the stage door, first time ever, to congratulate her. She is also probably the Mariinsky's most versatile dancer, excelling in modern works, but her statuesque elegance also makes her one of their most beautiful at the classics. Out of the mainstream of discussion, but because I saw her do it, is her amazing ability at characterization. Her portrayals in Jewels, I felt were equal to some of the best from Broadway or Hollywood. Alina Somova has always fascinated me. In essence she is a remarkably beautiful dancer. Her performances over the years have varied considerably in what she seems to be trying to accomplish. Since her return from maternity leave she does appear to be more focussed. Her 'Swan' (Fokine) and Yekaterina Kondaurova's performance of Jewels were *Revelations* to me as to what both these artists are capable of. Where they chose to place the emphasis is a key factor. Both are extremely talented, but most exciting, both are capable of producing one of a kind, all-time great performances. When this might occur is unpredictable. Thus the interest and fascination. I would go to see either of them without hesitation. You are almost certain of seeing an extremely fine performance. You might wind up seeing one of the greatest. Correction made: In the last sentence of paragraph two Jewels replaces Rubies.

Drew, thanks very much for your added thoughts. You mention "warmth and charisma." What, for me, Olga Smirnova has added to her Swan Lake debut (I've only seen on video) is a definite and compelling identity. I noticed this in NYC both times. Her Odette/Odiles are now clearly defined. For the moment I can't totally describe it, but I'll suggest a few descriptive words. 'Alive, here and now, believable, sensitive, aware, dramatic, poetic, compelling, charismatic, enchanting, commanding.....' (She can't do much better than that, I guess) Somehow she now truly 'Connects' with her partner, the stage and us.

I can't tell you about the difference in variations, but otherwise I agree with you completely.

I believe that Cinderella was made for Diana Vishneva. I saw her debut twice in Washington DC and was awed ! This is almost ten years later and Diana Vishneva has changed. She might have to reinvent herself but it could be exceptional as well. Igor Kolb was there to amazingly keep her from flying off the stage. In the meantime, Alina Somova has certainly made it her own, based on video clips. If she doesn't perform it, this will be the second time in less than a year and I have to wonder why? Maybe that and Swan Lake are too much. Added: Just saw your casting list, YID. Thank you. It's great to see Daria Pavlenko being cast in Cinderella (or any other significant lead). Her husband, Alexander Sergeyev *Is* the Prince. Hopefully he will appear as well. Added added: Just noticed that Yekaterina Kondaurova is doing All the programs. Unstoppable! Remember she did all the leads in Jewels in one evening at last year's Mariinsky Festival. She could be another great Cinderella. I've seen four of her Swan Lakes. She's a statuesque dream. Always good to see Danila Korsuntsev. He's partnered more than one famous ballerina into greatness.

Based on what I've seen on internet video clips over the last several years, if Alina Somova is cast in Cinderella -- Go see it !

I also thank you very much, sasark, for your very fine Mariinsky and Bolshoi reviews. I'm very glad that you've liked so much of what you've seen. I've been to several of Olga Esina's Swan Lakes and thoroughly enjoyed them. The one that she did at the Festival last year was a gem. As Odette in Act I she seemed to stop time and then dance within a suspension. Her lovely and lively airiness has always been a delight. Xander is a treat to watch. He and Kimin Kim are star personalities with different but exceptional talent. Oxana Skorik is also one of my favorites.

I was very much looking forward to her return to the Mariinsky. I hope that I'm allowed to say here that I met her once at a Mariinsky reception and found her to be one of the loveliest individuals that I've ever spoken to. I wish her much success and happiness wherever she goes.

I forget what all our comments were, but, for me, four out of five Swan Lakes that I saw were extremely successful artistically, two featuring Svetlana Zakharova and two 'revelations of greatness!' by Olga Smirnova.

Once again from Ismene Brown. “It was announced yesterday that Bolshoi chief Vladimir Urin has introduced a revolutionary new e-ticketing scheme at the great Moscow theatre….” Also preparations for “a new strategic planning board for opera and ballet” are mentioned ("though he [Vladimir Urin] announced that there would be no changes in artistic leadership.") http://www.ismeneb.com/Blog/Entries/2014/9/13_E-tickets_and_Mrs_Urin_at_the_Bolshoi.html (thanks to BalletcoForum for posting this) Added comment: The Mariinsky in the ten years of my buying experience has always had a very efficient online sale of tickets with almost total availability at the best official prices.

Also a Prodigy definitely, and a Genius quite possibly.