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Everything posted by Buddy

  1. This appears to be a lengthy interview released yesterday with Svetlana Zakharova in Russian if anyone wants to take a look. http://www.expert.ru/printissues/thing/200...rview_zaharova/
  2. Hi Haglund's, I don't really follow opera, so I can't help you very much here. I have read on the internet that opera is a passion of Valery Gergiev, the director of the entire Mariinsky Theater. So perhaps as much energy as possible is being devoted to opera at the Mariinsky these days. If you can get a look at "The Sacred Stage" video, which is a recent documentary about the Mariinsky, you might get a bit more insight. There is an entire section devoted to the Mariinsky singer, Yevgeny Nikitin. Also Valery Gergiev makes some interesting comments about the opera. The video is also worth viewing for some excellent clips of Zhanna Ayupova dancing The Rose Adagio from Sleeping Beauty. Also if you look at the 'extended' part of the video at the end, you can see her dance most of the dream sequence.
  3. Buddy

    Darcey Bussell,

    Darcey Bussell also says... "I think children are interested in dance, partly because of Billy Elliot and partly because if you go into any school playground, loads of kids are doing street dancing." "Everyone Loves Music, Loves To Move. It Is Joyous To Do That." (I added the capital letters).
  4. Since I felt that I had to drop in on this very fine discussion with the sad news of her injury, could I please be allowed to say that I saw her Mirtha last June and was 'absolutely mesmerized' by her stage presence. Her dancing also seemed quite fine to me.
  5. Since Veronika Part is scheduled to perform tomorrow and again Saturday, I would like to post this here for anyone who was hoping to see her. She sent four of us and e-mail today saying that she had an injury earlier in the day and will be out for the rest of the season. I wish her a very speedy recovery.
  6. Buddy

    Veronika Part

    The message was apparently sent to four of us. I also join SanderO in wishing her a quick recovery. If anyone wishes to e-mail her their good wishes it can be done at... vpartnyc@gmail.com
  7. This is a very lovely description, Giannina, The control of the flow of her moves is one of the many elements that for me makes her dancing so special. This is one of the elements to put on a long list to keep her alive in one's mind. Also it is the total perhaps undefinable poetry of what she does that is extra special. In regard to her facial expression as Odile, I saw her Swan Lake performance last March and was quite captivated by her Odile. Chiapuris described it as being an "ephemeral" look at the time. I thought that was a very good definition. I wonder if it was the same expression that you saw? What I saw was definitely a look of her own invention. It seemed to reflect a personal space that she was creating with her amazing dancing itself and not necessarily a character in a story. This is an idea that I've mentioned before and for me it can work very well.
  8. Buddy

    Veronika Part

    Just took a quick look. This seems to be about Maya Plisetskaya, with just one mention of Veronika Part. Sorry. [added by Buddy several minutes later. Okay, it's about Azari "Plisetsky" and I won't say another word until I finish reading it.] [added hours later by Buddy. It's a very nice article anyway.]
  9. Buddy

    Veronika Part

    This is probably the one. Enjoy ! http://www.newyorker.com/talk/content/arti...a_talk_acocella
  10. Buddy

    Veronika Part

    Veronika Part will be performing Symphonie Concertante at tomorrow's Opening Night Gala (Oct.18, 6:30 PM) and also on Oct.21 (2 PM) and Oct.25 (7:30 PM). She will be performing the Swan Lake Act. II pas de deux Oct. 28 (2 PM). http://www.abt.org/performances/calendar_index1.asp Anyone who sees any of these, I would love to hear your impressions.
  11. I have deleted reference to Nina Ananiashvili in my above posting. The performance I was expecting was actually in 2004. Make sure which buttons you push here. Finding an exact program can be a little tricky at first.
  12. It would appear that the Bolshoi's English site is in order at first glance. http://www.bolshoi.ru/en/
  13. The E-Mail at Veronika Part's site is working. I sent her a message yesterday and got a very nice reply today.
  14. Hi Herman. chiapuris was Unable(!) to get a ticket. Still chiapuris should be a Role Model for us all following in the footsteps of his Noble Ancesters fifty years ago!----Cheers!
  15. I guess that this is another new name to keep our eyes on, along with Natalia Osipova, who got some very favorable comments on the internet for her Odette/Odile. A slight mega-error on my part. Natalia Osipova danced Aspicia in The Pharoah's Daughter and not Odette-Odile.
  16. Hi chiapuris----standing in line for four hours to try and get Bolshoi tickets at the last minute----I would have done the same thing. Remember that exactly fifty years ago folks stood in line for Three Nights(!) in London to get their first look at the Bolshoi dancers. You are part of History!
  17. This might be the same thing that I saw in Daria Pavlenko's Giselle in DC. (What a wonderful performance that was in retrospect.) Also this might be what Ulyana Lopatkina is doing with her Swan Lake. In addition when I watch Galina Ulanova's Swan Lake pdd video performance with Konstantin Sergeyev, she seems to be in her own wonderful universe. They may all be expressing the music, or the world of dance itself, or... This all refers to dancers possibly transcending the actual story and reaching for something beyond. Very fine review by the way. As I mentioned in my April review, I found Maria Alexandrova to be the Most Loveable "Odile" that I could imagine. Clement Crisp seems to agree with you about Chinara Alizade. I guess that this is another new name to keep our eyes on, along with Natalia Osipova, who got some very favorable comments on the internet for her Odette/Odile. Here is some of Clement Crisp's very nice review of the Swan Lake performance with Svetlana Zakharova. (I've also watched her new Giselle video several times. What an incredibly beautiful dancer she is!----Wow!) "This eighth wonder of the world first saw the light of day in Moscow in 1877...The impeccable ranks of swans move as one, and are marvellous. The soloists invest their choreography with an unfailing authority – Natalia Osipova a shining example as the Spanish Princess in the ballroom scene; a cygnet (Chinara Alizade) with ravishing feet. Its focus was the Siegfried of Ruslan Skvortsov, handsome, presenting the role and the dance through broad, weighted brushstrokes, and obsessed by Svetlana Zakharova’s Odette/Odile. Here is a ballerina of exceptional gifts. The rituals of the choreography are shown as fine-boned, exquisitely linear, drawn with an unerring and Ingres-like skill. I found her Odette wonderful in technical exposition...Her Odile...Beautiful, smiling, serene..." http://www.ft.com/cms/s/3083ce52-256a-11db...00779e2340.html [Added later by Buddy. Natalia Osipova danced Aspicia in The Pharoah's Daughter and not Odette/Odile.]
  18. Could I quickly call attention to Clement Crisp's review of the Svetlana Zakharova-Sergei Filin performance of The Pharoah's Daughter. One of his better reviews...'me thinks'. http://www.ft.com/cms/s/a529c572-21c3-11db...00779e2340.html
  19. Hi, chiapuris. Thanks for another excellent review. I'm very glad to hear that you are 'enjoying' the performances. This could be ultimately what it's all about. I saw Svetlana Lunkina's Pharoah's Daughter in NYC and I felt somewhat the same way. I also saw her Swan Lake in England and interestingly, for me, she had very 'intense expression', both for Odette and Odillle. Ive seen her four times and I can't quite figure it out. It could be personal choice, coaching...? Her dancing by the way in the last two adagios, as you mentioned, is some of the finest dancing that I have ever seen! You also call attention to the intricate dance steps, etc. I read an interesting discussion once, reminding us, that Marius Petipa had just arrived from France when he choreographed this ballet. Pierre Lacotte may well be reflecting this. Also from what I've read there is very little of Marius Petipa's actual choreography in this ballet. This is openly acknowledged by Lacotte. Ramze's toe tapping sequence is one of the very few original step sequences used. I'm glad that you liked Elena Andrienko. She is a totally 'personal' favorite of mine in this ballet because of her "delightful" fairy-like lighter than air dancing. A lot of what you have described can be seen on the Pharoah's Daughter DVD featuring Svetlana Zakhavova and Segei Filin. I am very interested in Natalia Osipova's version this afternoon. If I can find anything quotable here I will try and pass it on.
  20. Hi Natalia. I certainly very much respect your opinions and that of the other well known ballet commentators who share your opinions. I also very much respect chiapuris' opinions and other similar opinions that I have read. I guess it is up to each of us to make up our own mind with due respect and reference to other's impressions. A few comments from John Percival. "...altogether a very warm audience response. We are talking about "The Golden Age"..." Of historical interest. "None other than Galina Ulanova who danced the lead in it, told me that the first "Golden Age" was actually rather good..." "Two things I especially admired about Gelber's staging--developed in conjunction with young theatre director Andrey Prikotyenko--are the skill with which he organizes many large and varied ensembles, and the clarity with which he tells a somewhat complex story." http://www.danceviewtimes.com/2006/Summer/...irovlondon.html
  21. Hi chiapuris, I've been cruising the internet and you are not the only one who enjoyed "The Golden Age".
  22. leonid, I am in the process of rereading your comments about Diana Vishneva. I am extremely impressed with the detail of your analysis as well as the heart-felt sentiment. To go off topic for a minute would you care to discuss Ulyana Lopatkina, who is often considered the amazing contrast to Diana Vishneva or visa-versa. You might consider doing it here as a comparison or perhaps at the Ulyana Lopatkina topic a few doors away. http://ballettalk.invisionzone.com/index.p...pic=20176&st=15 Also I noticed that you have omitted Galina Ulanova and others from your list. Is this because you never viewed them in person? I was a little confused by your statement that your opinion of Galina Ulanova changed after observing the Swan Lake pdd with Sergeyev on the video. Could you maybe clarify this. I only mention this here because this seems like a good place to catch your attention today. You might want to discuss it back where you originally mentioned it... http://ballettalk.invisionzone.com/index.p...pic=22719&st=15
  23. leonid, thank you very much again for your extremely well thought-out and beautifully written comments. Omshanti, you also have put a great deal of thought into your comments and they are very appreciated. Both of you have given me, for one, a great deal to think about and I am very grateful. leonid, I do agree with you very much about the huge importance of the audience. I do think that commentators (critics?) and posters can help define what it is that audiences appreciate and this can add interest and enjoyment to the performances. In regard to Diana I have a few more thoughts as usual--because there always seems to be something new about her to think about. This for me is one her very fascinating characteristics. Her ability to amaze with her physical capabilities overwhelmed me from the start. Her ability to put herself into the character seems to keep improving. Her ability to handle 'subtleties'--for example, possibly one of the most ethereal sequences in ballet--the Act II of Giselle--seems to keep improving. Her range of performance skills seems huge. Everytime that I watch her Giselle video performance (with Vladimir Malakhov doing an excellent dramatic portrayal) I tend to find some new aspect that is more than commendable. About a week ago I commented on how she resembled a beautiful reverberating wave. Now I watch the exact same sequence and it is the intensity of the character that is so impressive--a completely different aspect. She always seems on the move. Performing so many different elements so well. It is sort of an adventure to watch her with almost complete surety that she will succeed--and succeed with beauty.
  24. leonid, I was hoping that you would make a posting here. Omshanti, canbelto, chiapuris, papeetepatrick and everyone else, it is good to hear your opinions. That is what makes this all so interesting--all the different points of view. Just from myself, thank you all. leonid, I really enjoy following your wealth of viewing background. In the topic-- "Dancers who may have been lacking in technique, but who still commanded the stage and captured the eye."--you said... "It is through seeing dancers like Fonteyn, Chauvire, Kolpakova, Zubkovskaya, Osipenko, Sizova, Komleva, Plisetskaya, Struchkova, Maximova, Asyluratova, Lander, Samsova, Beriosova, Verdy, Schanne, Ananiashvili, Nadezhda Pavlova, Bessmertnova, Chenchikova, Evdokimova, Haydee, Seymour, Vishneva, that have set standards which I undoubtedly carry with me to performances and establish my expectation in all other dancers I see." http://ballettalk.invisionzone.com/index.p...pic=22719&st=30 Since the only one of the currently active ballerinas that you have included for the moment in this illustrious list is Diana Vishneva, may I ask you what you like in particular about her.
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