Buddy

A few more thoughts about the Legend of Love video posted above. Oxana Skorik Subtlety This is what I'm noticing more and more about Oxana Skorik. I've seen her perform with mind boggling bursts of expression. Now she is more quiet, more refined, perhaps the difference between Mozart (refined) and Bach (powerful). The depth, power, and range of interest are there, but they're tempered with sensitive intricacies of feeling. Naturalness This is also becoming more apparent in her expression and portrayal. She seems to be living her character. In doing so she knowingly fine tunes her emotions, thus the subtlety. She is real. Her dance extends and is integral with this. In this respect she looks comfortable and at home.

Thanks, Plisskin. This is a great chance to see Oxana Skorik and Alina Somova together. For me, they have many remarkable parallels that can be studied and enjoyed here. After one viewing, Oxana Skorik's solo (at 35:00) is very compelling. For one thing, it shows in a very subtle way, her power and multi-dimensionality of portrayal. Again she goes deep inside herself and gives us something fascinating and completely her own. She reminds me of Veronika Part (ABT, formerly Mariinsky) is her ability to do this. Later in the video Alina Somova displays a similar depth and dimension. Their dancing is extremely fine. In one instance, Oxana Skorik just floats. Alina Somova puts her well known flexibility to use in such a poetically restrained and artistically beautiful manner. I look forward to watching all this more carefully. Having never seen this work before, after one complete viewing of the video, I have lots of thoughts. There is depth, invention and beauty with enough room for personal interpretation to make it something that I would like to become more familiar with.

I do too. As the young girl in Ives, Songs she was one of the most naturally lovely dancers that I've seen.

Thanks, nysusan, for your review. The Odette that I saw Olga Esina perform at last year's Mariinsky Festival was slightly different from her two last autumn in Naples, Italy. I would say her Naples performances were somewhat more animated, expressively vibrant and vey secure. Her Festival performance, which I really liked, was very 'artistic' and lovely. As for using "her upper body in a softer, more sculptural way," at the Festival I wouldn't necessarily say "more" than the others, but differently. She was indeed soft and sculptural. In the slower passages, she had a way of slowing things down almost to a suspension, yet compacting so much feeling and interest into this. Also she would punctuate this with dramatic reaches and positioning, that made a very effective contrast. Whenever this seemed liked it might get too loose, she would return it to a beautifully controlled and refined 'softness.' I've probably discussed this more completely under her name in the "Dancers" topic. Also glad that you liked Anastasia Kolegova. Like Birdsall, I personally prize her 'understatement,' because it allows her delightful and lovable natural self to shine through. I like Timur Askerov. Among other things he seems to be a very secure and sympathetic partner. Thanks again for sharing your thoughts.

Back to Olga Esina for a moment. I've seen her five times, three of them were Swan Lakes, and she's been Extremely Beautiful, solid and vibrant. Last autumn in Naples, Italy, she danced Swan Lake twice, with only a one day break, and she was perhaps even more exciting and full of energy the second time. She was a breathe of fresh air !

I think that these brief thoughts are appropriate and hopefully in the spirit of the wonderful art that is being seen this week in Washington DC. Sarah Kaufman, in her recent review, starts out by citing the current 'real life concerns' in the Russian ballet world and then summarizes by saying: "What a relief that the art prevails." I, on the other hand, recalled what Tamara Rojo said awhile back in regard to being the new artistic director of the English Nation Ballet. She said that she always felt that the art came first but now she feels that the Welfare of the humans performing the art comes first. How to reconcile these two perhaps contradictory points of view ? I think that if you see the art as the human expression of a higher ideal, even a personally liberating and perhaps even transcending power, then, in fact, the art and the wellbeing of the humans performing the art can become the same thing, a very good thing. This is not to negate the importance of the basic welfare of the artists. Hopefully the 'Houses' of Bolshoi and Mariinsky-Vaganova will manage to deal with matters that seem to need some necessary attention and come somewhat closer to the ideals expressed in their artistry. The artists, above all, seem to be compelled by a higher ideal. This is for the good of everyone. So I, for one, if I were fortunate enough the be in Washington DC, would want to enjoy these great performances as much as possible. They are what, for many of us, lift us above so many daily concerns, adding joy and value to our lives, hopefully encouraging as healthy and inspiring a real world condition as possible. So once again, thanks, everyone, for passing on your thoughts about these performances which I hope, overall, are a most joyful and inspiring experience.

Thanks, Natalia, for your thoughts about last night and for alerting us to this very fine, poetic and sensitively supportive review from Sarah Kaufman that I'd like to reread much more carefully. Birdsall, I share your admiration and 'love' for Anastasia Kolegova. She's a Sweetheart ! In addition, she's an excellently and beautifully competent dancer, who has subtly captured my respect and my heart. Tonight, Olga !

I believe that Makharova is her Celtic name.

So sorry to hear about Keenan's hip surgery, amiaow. I hope that she has a speedy and very successful recovery. In regard to the overhead lifts, at the last nine Mariinsky Festivals I believe that they've always been performed by both home and guest artists (including the one Festival when Swan Lake was performed six times!). This is my only knowledge of what might happen on the home stage. I was at one Chicago string, 2006, and only one of the three ballerinas did them. I got a feeing that they were taking it easy on that tour. Alina Somova did them in London in 2011. As I recall one ballerina did them in one out of three performances while the other two did them both times in Costa Mesa, 2013. In Naples, Italy last autumn, I believe two of the three ballerinas omitted them. My guess is that it's more likely to occur in places that aren't familiar with the Mariinsky. I don't mean to imply that they lower their standards overall, because from what I've seen they don't. This is the only major technical challenge that I've noticed omitted. Is that more than you ever wanted to know about this? Just trying to keep the ball rolling until we start hearing about the next performance. Added comment: Rock the house, Anastasia !

I saw Alina Somova at the stage door several years ago in London after performing a long Swan Lake and she was exactly the same in real life (and extremely nice and attentive to those wishing autographs and conversation.)

I've had the great pleasure of seeing only fine live performances by Alina Somova over the years. Not to ignore the rest of your post, Ashley, but of all her qualities, your choice of words, "so very exquisite", is what keeps me glued to her. I hope that she shines brighter and brighter in this regard. I group her with Ulyana Lopatkina, Oxana Skorik, Olga Esina and others at the Mariinsky because of their long-lined, airy and dreamlike beauty. I'm so glad that so many enjoyed her performance and there should be very fine ones as well from Anastasia Kolegova and Olga Esina.

There is a video clip that I just found of Alina Somova and Alexander Sergeyev in Cinderella ("золушка" -- Алина Сомова). Although Anastasia Matvienko (with Alexander Sergeyev) is listed at the Mariinsky site for that evening (November 14, 2013) it looks like Alina Somova may have appeared instead. Of all the video clips that I've seen of Alina Somova, the one of her Cinderella from a couple years ago is perhaps the most enchanting. For one thing, there are several very beautiful duets. In the current clip, Alina Somova has returned from maternity leave. Her dancing is lovely and like Svetlana Zakharova, when she returned, Alina Somova has a lovely maturity of expression. Hopefully this will be evident in tonight's Swan Lake and those attending will be witnessing a most beautiful performance.

Hi, bart. I do agree with you. I'm not nearly as acquainted with closer to the source (American) companies as some others here, but I thoroughly enjoy the Mariinsky interpretations of George Balanchine. They add a lyrical poetry that I find wonderful. At last year's Mariinksy Festival, Ekaterina Kondaurova performed all the leads in Jewels. I was *Astounded* by the brilliance of her interpretation. It was equal in 'American style' acting prowess to anything that I've seen on the US stage or screen. Such things can happen ! When I find a video clip (usually a duet) on the internet that I really like I may watch it a hundred times. I'm into about 30 viewings of Olga Smirnova's Diamonds. This is a signature work for her. She's been at it for about three years and it grows more compelling and beautiful with each new performance. I truly look forward to her Swan Lake, which she's only worked on for about a year, as it progresses. She's also debuting Sleeping Beauty in about a week. In the paragraph that you mentioned from Alistair Macauly, he wrote about her performance of Diamonds: "She doesn’t just have the long limbs and neck of the ballet ideal, she also moves those legs with *startlingly fluency* and generosity of style. She has natural grandeur and a *stage persona* that compellingly suggests both remoteness and drama." [my *s] Alway looking for better ways to describe her, I agree with this totally. She also transcends categorization.

As a possible clarification, California, I wasn't interested in the package and simply inquired when single performance tickets could be purchased. The point I meant to add to your post was that Nonmembers could buy these tickets probably within a week after Members, "the beginning of April." I also would like to see Svetlana Lunkina as much as possible. She is such a beautiful dancer. Perhaps this is a fine opportunity for folks in Canada where she is now performing. I hope she finds a worthy place somewhere. Back at the Bolshoi would be just fine if she would be happy there.

Thanks, California. Some more information. I just called also. If you want to buy individual tickets (not the member package) members will have to wait until the end of March and nonmembers until the beginning of April.

I've been watching the most recent video clip of Olga Smirnova dancing Diamonds and of the many things that I like very much, one is very pleasant to see. It's how healthy she looks. She has a very proper weight condition for one thing. I look back on earlier video clips where I really admired the linear beauty of her motion. She was also thinner and I began to think that it was a large reason for the overall, beautiful look of her dance. Now I see that she can still achieve a wonderfully linear dance quality and also have a very healthy and beautiful looking weight condition. Based on video clips only, I think that she is progressing wonderfully and is just beginning a truly remarkable career. I greatly look forward to being able to see her perform live this summer in NYC to confirm what I've enjoyed so much on video.

They are scheduled to be in Costa Mesa, California, July 25-27, abatt. http://www.scfta.org/home/Events/EventDetail.aspx?EventID=1476&NavID=86

I had the great pleasure of seeing her for the first time in London performing Diamonds about two weeks ago. I don't get to see the Royal Ballet much and when I did attend it was primarily to see Alina Cojocaru. Marianela Nuñez's presence was unknown to me. I really enjoyed what I saw. She had such a lively and vibrant manner. In addition, her motion, that I noticed most in her arms, had an almost 'Mariinsky' loveliness and grace, which I've yet to see captured on any of the internet video clips of her. She was able to make seamless transitions from an almost Broadway-like delightfulness to the most beautiful balletic passages.

Thanks, Quiggin. When I mentioned the lady years ago referring to Thursday as the 'locals' night out', she was just referring to going out in general, which may have had little to do with ballet attendance.

Thanks again everyone for your insights and suggestions. The popularity of Tuesday nights is interesting news. When I lived in San Francisco, long before my interest in ballet, my daughter's elderly babysitter told us that Thursday night was the big one for locals. I guess what I would really like to find is a ticket agent with a reasonable markup. Agent prices seem quite high in San Francisco (double or more?).

Thank you very much, pherank, for bringing the video over here. I don't recall ever seeing such fine vertical centering, as shown in her frictionless spins and her non ending en pointe. I'll certainly try to see her if I can. Helene, I personal love Orchestra if possible anywhere. I like being as close as possible. At SFB I'll settle for most anything for the moment.

Thanks, pherank. Although casting isn't announced until just before a series, it's for the entire series. Hopefully the artists that one wants to see will also appear towards the end as well when seats might still be available. Helene, from a quick glance at the seating chart, Giselle for instance, is almost sold out for the first Saturday, evening January 25, and about 85% sold out for the following Saturday evening except for the Balcony, which is about 50/50. How are the Balcony seats? My main interest, by the way, would be to see Maria Kochetkova and Simone Messmer, If they were to feature them consecutively, I might start commuting. Added: Thanks, also, PeggyR. I just saw your post. Is standing room usually available that evening and how do you get it? Can you get it ahead of time?

Since casting announcements seem to be a last minute thing could anyone offer some suggestions as to how to get tickets if the theater is sold out? There are always particular artists that we may want to see. In my case I would have to fly to San Francisco from southern California, so last minute waiting for returns is really not practical.

I've watched the Adagio about twenty times. I could fall into it. Absolutely Enchanting ! And Precious

Thanks, amiaow and Natalia. The Adagio (duet) and the 'hand clapping' variation (solo) are my favorites so far.