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Buddy

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Everything posted by Buddy

  1. She looks vibrant. Thank you.
  2. The TV ballet competition “Bolshoi Ballet” (meaning “Grand Ballet” and not related to the Bolshoi Ballet Theatre) will start its new season tonight. “Watch the first edition of the Bolshoi Ballet on November 4 at 17:30 on the Russia K TV channel. Contestants: “Haruka Yamada - Erdem Sandakov (Buryat State Academic Opera and Ballet Theater named after G. Ts. Tsydynzhapov); Kristina Kochetova - Alexey Mikheev (out of competition) (Saratov Academic Opera and Ballet Theater); Alisa Alekseeva - Airat Masegutov (Bashkir State Opera and Ballet Theater); Elizaveta Korneeva - Ivan Negrobov (Voronezh State Opera and Ballet Theater); Elena Sharipova (out of competition) - Arsentiy Lazarev (Yekaterinburg State Academic Opera and Ballet Theater); Anastasia Lebedik - Rinat Bikmukhametov (State Opera and Ballet Theater of the Komi Republic); Anna Fedosova - Marcello Pelizzoni (Krasnoyarsk State Opera and Ballet Theater named after D. A. Hvorostovsky); Maria Khoreva - Vladimir Shklyarov (out of competition) (Mariinsky Theater). “Jury of the project "Bolshoi Ballet" - 2020: Diana Vishneva, prima ballerina of the Mariinsky Theater, People's Artist of Russia; People's Artist of Russia Farukh Ruzimatov; Honored Artist of Russia, laureate of international competitions, laureate of the Golden Mask National Theater Award, choreographer Alexei Miroshnichenko; Honored Artist of Ukraine, artistic director of the ballet of the Novosibirsk Opera and Ballet Theater Denis Matvienko. The curator of the project is the Russian choreographer and dancer Sofya Gaidukova. Leaders of the project "Bolshoi Ballet" - 2020: Prima ballerina of the Bolshoi Theater of Russia, etoile of the ballet troupe of the Milan Teatro alla Scala, People's Artist of Russia Svetlana Zakharova; Opera singer, People's Artist of the Republic of Bashkortostan, People's Artist of the Republic of Tatarstan Ildar Abdrazakov.” (Google translation) https://tvkultura.ru/article/show/article_id/370832/ (Thanks to ATV at Balletfriends/Балет и Опера)
  3. Yes it was, Lizzy. It's part of a very a sympathetic attitude that Vladislav Lantratov conveyed throughout his moderation and interviews. He presents a very sympathetic case for what the Bolshoi's attempting to do at the moment with its full program of performances. I’m still watching the Bolshoi’s World Ballet Day presentation and I’ve gone back and forth between the duet rehearsals. The one that I focus on the most is with Olga Smirnova and Ruslan Skvortsov, for Onegin, coached by Maria Allash. There’s always something new to appreciate. Several elements are most noticeable. There’s the pure beauty of motion. Some of the sculpture in the overhead lifts, for instance, is magnificent and breathtaking. There’s the musicality, how the motion reflects the music. And there’s the emotional and dramatic. How Olga Smirnova responds to the emotional and dramatic is a highlight. She’s already taken on the character and the aura. So the rehearsal is beyond just getting the mechanics. It’s also into expressing the character. This is all done with a beautiful flow and blending of moves and feeling. Especially touching is the expression on Maria Allash’s face towards the end of the presentation. She’s absorbed and heart touchingly ‘lost in’ the emotion and the aura. Yet, in an instant, she can throw in a key suggestion. What’s happening is much more than an exercise, it’s a lovely and insightful event.
  4. Thanks again, Drew. I was just going to add this to my previous post. I've written several times how pleasantly surprised I was by the Mikhailovsky Corps de Ballet two years ago just before attending that Mariinsky Festival. It was a pure delight, so natural and so magical. I went as far as to say that I may have been in heaven for a few moments. After seeing the entire Mariinsky Festival I still considered the Mikhailovsky Corps de Ballet perhaps the highlight of the trip. Granted they are different, certainly in size, than the Bolshoi or Mariinsky, but I'd go back to see the Mikhailovsky in an instant because of that.
  5. Marina Haars gives an enthusiastic review of the new Wheeldon/Mearns/Hallberg/Mitchell “The Two of Us”. “Something in this process seems to have freed them all; I’ve never seen a more sincere, open-hearted, grounded work from Wheeldon. Or such natural performances from these dancers, particularly Hallberg. It’s hard even to remember steps, because everything feels so organic. The dancers look like themselves, moving not so much with but through the music, feeling its vibe, letting themselves be carried away by it the way a normal person might while listening to the radio.” https://dancetabs.com/2020/10/ny-fall-for-dance-2020-digital-program-1-including-premieres-by-jamar-roberts-and-christopher-wheeldon/ (Thanks to Dirac) Added comment: The first time, of many, that I viewed this work I said to myself that this might be the best from Christopher Wheeldon so far. Having only seen some of his works, I thought that this might be pushing it. Having read Marina Haars' comment above, maybe it's true. It's a commendable balance between artistic creativity and natural abandon.
  6. Hi Drew. Thanks so much for your response and interest. May I respectfully disagree and offer this as one example. Tatiana Legat, now répétiteur at the Mikhailovsky Theatre, married to Yuri Soloviev and hailing from a dynasty of famous Russian ballet artists. She recalls some of the most famous names in ballet history. . “Word has it that you are exceptionally kind to your girls. “I rehearse with the entire corps de ballet. Everyone knows that this is the hardest thing to do, and no one wants to do it. You must hold the line, whilst having your legs perfectly turned out at the correct angle and staying in time with the music. Every day, it’s the same drill. A corps de ballet dancer’s work is hard, but essential. There is no theatre without the corps de ballet. “I think our corps de ballet is just about beginning to come into its own. The girls are so lithe, graceful, and energetic! Our girls have good form. I work hard on them, but without shouting. I go up to them, talk, and explain how I used to do it. And I feel that bit by bit I am winning them over. Being strict is all well and good, but you have to love them.” https://mikhailovsky.ru/en/press/media/interview/tatiana_legat_interview/ (thanks to Katharine Kanter at Dansomanie)
  7. Thanks, BalanchineFan. I’ve watched the City Center’s (parallel and closely related to this topic) new Wheeldon/Mearns/Hallberg/Mitchell “The Two of Us” over and over today, even without the sound twice. I’m as captivated as ever. It works best for me with the music, no surprise, because the music is essential to blending it all. Romance is the essence. The diverse dance styles are tied together by this. Sara Mearns’ and David Hallberg’s total commitment and absolutely fine dramatic portrayal were a huge plus. David Hallberg’s dancing hair, alone, was a choreographic masterpiece. And on and on. Can still be viewed until the end of today. A review can be seen here. https://balletalert.invisionzone.com/topic/45884-new-york-city-center-—-fall-for-dance-2020/
  8. Some more fine video clips — Oxana Skorik with Andrei Yermakov — Romeo and Juliet The first one is Oxana Skorik’s solo after taking the potent in her bed chamber. I’ve never seen her more maturely compelling in dance or portrayal. They say that the times can bring out the best or the worst in someone. In this case it’s the best, along with many other Russian ballet artists who’ve acknowledged the very challenging conditions that they’re working under and expressed their determination to do the very best that they can.
  9. Thanks, Drew, for your comments. I'm glad that you enjoyed the Bolshoi broadcast. I liked much of it as well. In regard to your comments about Makhar Vaziev I really feel that ballet is about human beings and the beauty of human beings. The beauty of a human performance loses its beauty and meaning, for me, if it’s the result of ‘inhuman’ behavior.
  10. I almost feel compelled to mention this again. It relates directly to the dancing that we’re seeing here. It might be its best example. It’s related directly to NYCB in that Sara Mearns is dancing. It’s a great chance to see her with David Halberg. It’s some fine Christopher Wheeldon new choreography and it’s almost 15 minutes long. “The Two of Us” is to four songs by Joni Mitchel. It’s part of New York City Centers two programs and it will disappear at the end of tomorrow, Sunday. All those ‘jerky abstract’ moves that, for me anyway, sometimes work great, sometimes don’t, are somehow combined here with soulful romance and made to really work. Don’t ask me how. It builds as it progresses and Sara Mearns and David Halberg are a darn good reason why. It’ll cost you $15, but it’s for a good cause. It’s part of Program I and it starts at 36:40 https://www.nycitycenter.org/FallforDance
  11. “Thank You, New York” I agree with a lot of Rock's sentiments. This is the one that I watched twice and may watch again. The choreography is enjoyable, exciting and substantial. The film, in itself, works very well. There’s a Jerome Robbins element at work. There’s a good attempt, as explained in the last part of the discussion, to make the dancing part of the surroundings. I would have liked it even more if the dancers’ real feelings, a focus of the work, had been more clearly illustrated.
  12. Thanks, ECat. The Nadezhda Gracheva class, the Olga Smirnova with Ruslan Skvortsov rehearsal and the live interviews are probably my favorites for the day as well. I’ve watched each of them several times. Thanks, Quiggin, for your response. I think that I understand what you’re saying. It’s perhaps the same reason that my favorite parts of ballet are the key, crystallised adagios. The Fokine “Swan” performed in the posted video of Ana Turazashvili is one of the finest. I still feel that the video has a lot of artistic interest. I’m really enjoying it. And it shows her many qualities quite effectively. I also feel that Ana Turazashvili could have a fine career, even worldwide because of her excellent english, in front of the camera, but I’ll certainly settle for her ballet loveliness.
  13. I was kind of thinking (and hoping) that you’d drop by. Thanks for your thoughts and additions, especially since we agree a lot. 😊 By the way, I’m quite impressed by the artistic quality in the making of this video. Any thoughts from our more visible ‘technical’ experts, Quiggin, Pherank, anyone ? Among her other fine qualities, it seems that Ana Turazashvili keeps good artistic company as well.
  14. Over a month, almost every day and seven years of programs later. It ended on a high. That was nice. Now for the return of "The Marvelous Mrs. Maisel" with its more choreographic element. I do hope that they keep some of her language in check. Overall, it’s more mature structurally than "Gilmore Girls." Until then, it’s back to Fred and Ginger and an occasional glance at Goldie Hawn’s “Butterflies Are Free.”
  15. I somewhat feel the same way, Dirac. I don't necessarily like the genre, the little of it that I've seen, but his heart felt in the right place. Thanks, Cristian.
  16. Anyone notice that very beautiful lady translating into very fine english all the interviews with Vladislav Lantratov, the only live part of the Bolshoi’s World Ballet Day presentation two days ago ? I’m sure you did. So who is Ana Turazashvili. She’s built a profile. She has an Instagram site. She has a Youtube site (nice for me because it’s a source of official videos (her own) that I can post). She does physical yoga, very sensible with all the physical extremes that a ballet dancer must accomplish. She also has done a video add in the Russian Vogue and does interviews. She’s had no leads that I know of, but does the Lilac Fairy and other important and beautiful Soloist parts. She has lovely, long lines and other fine dance qualities. Here she is.
  17. Lizzy, in the Bolshoi World Ballet Day presentation yesterday Vladislav Lantratov said that he's coaching for the first time and enjoying it. He said that the reason that he's doing it is so that the more elderly coaches can stay home during the virus. Seems like a very sensible and understanding decision on his part and the company's. (I still can't get these to go away)
  18. I also enjoyed the Bolshoi’s Gracheva class very much. I’ve watched it a second time and may watch it again. I was particularly focused on Olga Smirnova. No surprise. Her rehearsal of “Oregon" with Ruslan Skvortsov was also very fine. I agree with you about the charming Lantratov and Turazashvilli interview with Denis Savin and they both did a fine job all evening. Their segments were the only live ones. I hope to see the rest of Yuri Fateev’s Mariinsky class as it was the only live one that I saw. At the Royal Ballet, Marianela Núñez’s and Vadim Muntagirov’s rehearsal of George Balanchine’s “Tchaikovsky Pas de Deux”, coached by Christopher Saunders was another highlight. Christopher Saunders was quite impressive as a coach and he made the rather surprising observation that he thought that all the dancers returned with better ability at detail. He attributed this to their lack of distraction during their time away. Vadim Muntagirov, on the other hand, said that he was very glad to be back as he was really losing his ability to partner. It’s very good to see so much ballet activity everywhere. I hope that it can continue at a healthy pace. The Royal Ballet seems to have one of the more sensible overall formats. The Bolshoi, which is operating at full steam, does seem to be trying its best to make things as healthy as possible.
  19. Gennady Naumovich Selyutsky On October 29, the famous and much loved Mariinsky Ballet Master Gennady Naumovich Selyutsky passed away. This was reported by Igor Kolb. https://www.facebook.com/igor.kolb/posts/10221517920589774 I was at a Gala in his honor several years ago at the Mariinsky Festival and it was one of its finest events in sixteen years. I remember waking up in the middle of the night to type out the entire program so that it could be seen on the internet. That’s how good I thought that it was. His face seemed to be everywhere over the years. "Since 1991 he has worked as a ballet master and coach with artistes of the Mariinsky Ballet. He has rehearsed roles with Farukh Ruzimatov, Igor Zelensky, Konstantin Zaklinsky, Makhar Vaziev, Yulia Makhalina, Igor Petrov, Dmitry Korneyev, Andris Liepa, Alexander Kurkov, Biktor Baranov, Andrei Yakovlev (2nd), Leonid Sarafanov and Andrei Yakovlev (2nd), Igor Kolb, Leonid Sarafanov, Andrei Yakovlev and Ernest Latypov. He currently works with Danila Korsuntsev, Yevgeny Ivanchenko, Andrei Yermakov and Viktor Caixeta." https://www.mariinsky.ru/en/company/repetiteurs/seliutski/
  20. "new song" Of the new pieces so far I probably like this one the best although the dives to the pavement are a little scary. I see a resemblance to this one which I really like. https://www.youtube.com/watch?v=8Uuc0y69if4&list=FLBLCxY93j3rJgEog_0GMX2Q&index=14
  21. Liked it too, Maps. Also enjoyed footage from the Bolshoi and the Royal Ballet. I've posted comments and links at their 2020/2021 Season topics. (Whoops, can't make this go away.)
  22. Fine rehearsal performance by Marianela Núñez and Vadim Muntagirov of Balanchine’s “Tchaikovsky Pas de Deux” with more of their rehearsal and an interview following. Starting at 1:35:00. (Thanks to Paco and Sophia at Dansomanie)
  23. All subtitled in english. You can see ballet director Makhar Vaziev rehearsing at [now at 1:38:40]. This is for public consumption. You can judge for yourself what you think of his manner. I quite honestly wish that he would ease up a bit. (Added thought -- Having just watched the interview preceding the previously filmed rehearsal you see another side as well. It's of a man who really does love his art and does have a charmingly, pleasant and humorous side. He also probably believes that he has to be tough, often, to get the best results. I would continue to maintain that this doesn't have to be the case and that a more gentle approach could produce fine results and a healthy, warm atmosphere.) The one that I'm very interested in at the moment is Olga Smirnova with Ruslan Skvortsov at [now at 2:16:45].. It's always fascinating to watch her. They are coached by Maria Allash. She has a pleasant manner, yet seems quite effective. (Added comment -- Following this, at [now at 2:31:10], is a sympathetic and interesting interview with Olga Smirnova. She says that everyone knows that there's a daily risk at this time, but that the artists really do want to perform and that all precautions possible are being taken.) Ana Turazashvili and Vladislav Lantratov do a fine job hosting. I've always liked her, especially from her days performing Emeralds. She also speaks beautiful english and that's quite a dress. As a matter of fact, I think that I might be in love with her. 😊 "You will see fragments of rehearsals for the performances "The sleeping beauty "(rehearsed by Anastasia Denisova and Egor Gerashchenko),"Swan lake "(rehearsed by Olga Marchenkova and Artem Ovcharenko),"The Nutcracker "(the Bolshoi corps de ballet),"Onegin" (rehearsed by Olga Smirnova and Ruslan Skvortsov). There will be morning classes of people's artists of Russia Bolshoi ballet masters-repetiteurs Nadezhda Gracheva and Alexander Vetrov. "Guests of the broadcast: Anna Nikulina, Olga Smirnova, Artem Ovcharenko, Denis Savin, Alexei Putintsev and ballet director Makhar Vaziev. We also will move backstage of Perm opera and Ballet Theatre. " (Thanks to Sophia at Dansomanie)
  24. This is Yuri Fateev’s class today on World Ballet Day. https://www.youtube.com/watch?v=xw2E2IFnHRQ&feature=youtu.be (Thanks to Sophia at Dansomanie) These are the participants. Quite a list. Alina Somova Nadezhda Batoeva Ekaterina Kondaurova Mei Nagahisa Victoria Tereshkina Maria Khoreva Ekaterina Chebykina Maria Shirinkina Daria Ionova Kimin Kim Evgeny Konovalo Philip Stepin Vasily Tkachenko Nikita Korneev Vsevolod Mayevsky Roman Malyshev
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