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Buddy

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Everything posted by Buddy

  1. These are all the companies in order of time with links for tomorrow, Oct. 29. It’s in french but should be easy to understand. I believe that the times are for France, which would be five hours earlier EDT. The Mariinsky, for one, will be appearing for the first time. https://www.dansesaveclaplume.com/hors-scene/1106872-world-ballet-day-2020-le-programme-du-29-octobre/ (Thanks to Naomi M at BalletcoForum)
  2. For the first time, the Mariinsky will participate tomorrow, October 29, in World Ballet Day. This will include a class given by ballet director Yuri Feteev and a rehearsal with Viktoria Tereshkina. https://www.facebook.com/mariinsky.theatre/photos/a.162073785797/10159275775020798/?type=3 (Thanks to Sophia at Dansomanie)
  3. I agree that there's much to like (maybe love) in the Sara Mearns, David Hallberg, Christopher Wheeldon collaboration. It's to the songs of Joni Mitchell. I've only watched it once, but plan to return immediately. It's a fine effort to fuse the Joni Mitchell dreams of the 60's with high art dance. There's some wonderful imagery which builds as the work progresses. If you get Program I from the link ($15) in BalanchineFan's post above it starts at 36:40 (introduction at 34:00).
  4. Until 8 PM EDT “Digital Fall Season: 21st Century Voices” Excerpts from Christopher Wheeldon, Alexeï Ratmansky, Justin Peck https://www.youtube.com/watch?v=HKO1FfGLAAw&feature=youtu.be (Thanks to Sophia at Dansomanie for this 'alert') After a quick glimpse, I like the inventive choreography, especially the first two dances from Alexei Ratmansky’s “Pictures at an Exhibition,” starting at 12:40, 1) Tuileries: Tiler Peck and 2) Bydlo: Sterling Hyltin, Sara Mearns, Claire Kretzschmar, Abi Stafford. But above all and in agreement with Sohalia, , I do like the two lovely duets by Justin Peck. 2:50 Rodeo: Four Dance Episodes (Third and Fourth Episodes) (Justin Peck) 19:50 Year of the Rabbit (Justin Peck) (featuring Indiana Woodward, Taylor Stanley) And from Christopher Wheeldon’s always fine duets. 25:50 Polyphonia duet 39:40 Mercurial Manoeuvers duet
  5. I’ve read nothing about her recent Swan Lake performance and have found only one video clip. It’s of her solo after the Act I ‘White Swan Duet.’ This leaves questions about the entire performance. Yet this one solo does show some interesting and lovely development when compared with the video clip of the same segment from her January debut. The January debut shows her newness to the role. You can see her concentrating more, which makes the detail seem more exact. The detail is quite fine. A quality that’s also noticeable is an innocence. This is a beautiful feature of Maria Iliushkina. The recent performance clip shows an embraceable refinement. There’s now more gentleness, softness and flow. There’s also a feeling of maturity. Hopefully her earlier sense of innocence will remain as she continues to refine the role. I do look forward to seeing much more of her. This very brief glance does show that she has wonderful loveliness that continues to develop noticeably.
  6. Thanks for your comments, Ellecatalano. I’ve also enjoyed very much recent Don Quixote video clips with Nadezhda Batoeva and the Bolshoi’s young Elizaveta Kokoreva. I haven’t found any of Renata Shakirova, but I’m sure that she was excellent. Good to hear about Vladimir Shklyarov. I’ve also been browsing the videos. In some older ones from the beginning of the year I’ve noticed Kumiko Ishii, who graduated the Vaganova, joined the company in 2013 and was the only female Mariinsky dancer from Asia (Japan) at that time. She is still in the Corps de Ballet. She graduated in the class of Ludmila Kovaleva, Diana Vishneva’s instructor, who praises her in another thirty minute video. So what else is so special. She has a vibrant presence. She has a natural, luminous, radiant smile that carries through to the core of her body and motion. In groups of several featured dancers, this is very noticeable. Because she’s shorter limbed by Mariinsky standards she really has to have linear expression and lightness in her arms. In these videos she seems to be developing more of this and looks quite lovely. I’d like to keep an eye on her.
  7. No videos yet of Maria Iliushkina's second Swan Lake yesterday, so I’m watching her first. How beautiful she is. What an honor it is to be given such a lead from so many talented artists. The entire company is of such high quality. Any one of the female artists, including the Corps de Ballet, could probably do a commendable Odette-Odile. In my mind, everyone is a star. And with the support and wonderful talent of the others, the deserving principals and soloists for a moment in time are given the chance to stand in front, represent everyone and shine the brightest.
  8. Last Wednesday Viktoria Tereshkina, with Kimin Kim, performed Swan Lake. At this moment Maria Iliushkina is performing her second. I wish her much success. From a video clip of the ‘White Swan Duet’ I’ve never seen Viktoria Tereshkina lovelier. * Kimin Kim * It seems that he’s in almost every Mariinsky video clip that I’ve seen in the last few weeks. He’s quite something ! His dance prowess is always amazing. His partnering and portrayals are at their finest. For me, he’s become a hero of the Perseverance of the Arts. I first noticed him when he gave a long, upbeat video interview before the new season started. Since then he seems more alive, supportive and uplifting than I’ve ever seen him. For me, he’s become a wonderful symbol for the desire to push through and shine brighter than ever before. Bravo !
  9. Elizaveta Kokoreva, whom I mentioned that I liked very much in videos from a Novosibirsk gala about a month ago debuted as Kitri (Don Quixote) today at the Bolshoi. She performed with Alexei Putintsev. Both are still in the Corps de Ballet. From what I can see in an instagram type final ovations clip they were very well received. Added comment: The theatre is using the two occupied seats and then a space arrangement. You can see the audience and how many are using face masks in this picture. https://disk.yandex.com/d/JfDqqNzFtwOyaA/IMG_1899.JPG?w=1
  10. There’s a rather lengthy video of Olesya Novikova, with Timur Askerov, performing Romeo and Juliet from last Thursday. I’ve only watched the first ten minutes but I’m extremely impressed with the dramatic maturity of her portrayal. I saw her perform this several years ago and she really put her heart into it, but this, for me, in on another level.
  11. A quick glance (3:33) “On September 10, 11 and 13, the premiere of four one-act ballets under the general title "Four characters in search of a plot" took place on the New stage. “The idea of the project came from the Bolshoi ballet Director Makhar Vaziev, during the quarantine period in April 2020. After viewing a large number of videos and consulting with colleagues, M. Vaziev chose four young choreographers from different countries. “Our artists presented "The ninth wave" by Bryan Arias, "Just" by Simone Valastro, "Fading" by Dimo Milev and "Silentium" by Martin Chaix.” (Thanks to Sophia at Dansomanie)
  12. Not exactly my cup of tea, thematically, Pherank, but still inventive and well achieved.
  13. If there’s anything that I appreciate from the performing arts at the moment it’s a burst of sunshine. Looking through the video clips of recent Mariinsky performances I found Nadezhda Batoeva’s Don Quixote which I’ve already mentioned. From two days ago, I just discovered Renata Shakirova in Concerto DSCH. Both these fine artists fall into my Sunshine category. They are vibrant on stage and were exactly the same in real life when I had a chance to chat with them very briefly a few years ago at a reception. I’ve seen Alexei Ratmansky’s Concerto DSCH at least once, and what I recall most is his sense of humor or whimsey. It’s similar to what I like very much in some of George Balanchine’s and Jerome Robbins’ works. Renata Shirkirova handles this in Concerto DSCH — delightfully. Elena Yevseyeva performed Gulnare (Le Corsaire) about a week ago and I just discovered that clip as well. I like her, but I’ve not seen her featured often nor really focused on her. Here’s she’s very solid and embracing in her dramatic prowess. This feeling of confidence is very good to see (also evident recently in Nadezhda Batoeva and Renata Shakirova) considering the challenging conditions that the dancers are working with. After this video another came up automatically of her Gamzatti (La Bayadere) from five years ago and she already had the same dramatic maturity. I look forward to seeing her more.
  14. Please allow me a few summary thoughts. Essential to the ‘Midsummer Night’s Dream Duet’ is the combination of The Ethereal and The Dramatic George Balanchine’s Dramatic amplification is what separates this work from the more purely Ethereal ‘Swan Lake Duet.’ Here it’s elevated by the merging of Allegra Kent’s remarkable Theatrical Expression (framed, accented and supported wonderfully by Jacques D’Amboise) and her, and the dance’s, equally remarkable Physical Expression. Range is also essential to George Balanchine’s success. The way that he can combine so much interest and so many elements so coherently is remarkable. Maybe most important is that it seems to be an ongoing kaleidoscope that challenges description and is perhaps ultimately most meaningful as A Magnificent Experience.
  15. In addition to what I mentioned in my previous post Oxana Skorik, with Nikita Korneyev, performed Swan Lake last Saturday. A brief video clip just appeared of her entrance as Odette and she dances as lovely as ever. Here’s the Mariinsky schedule for all of October. https://www.mariinsky.ru/en/playbill/playbill/?type=ballet&year=2020&month=10
  16. Thanks, Aurora, for this information. If you're familiar with the ending to the A Midsummer Night's Dream — Act II Divertissement Duet do you see a significant resemblance to the Canova sculpture ? Can you think of any other works of art that the ending might resemble ?
  17. More viewing — more Awe. There’s just so much going on and it’s so incredibly beautiful. Emotional emphasis, motion and sculpture, meaning, rhythm and structure of relating are all constantly changing. My considering it perhaps ballet’s finest statement after The Swan Lake Duet continues. My ultimate love in dance always returns to the Ethereal. This is the most Ethereal of George Balanchine’s works that I know of. Ethereal is what Swan Lake is about. For me, it’s what ballet is about. In his A Midsummer Night’s Dream Duet George Balanchine amplifies dimension and range. It seems as if the entire range of elevated emotion is being explored, expressed and above all made into compelling and magnificent dance poetry, into magnificent art and message. How Allegra Kent and Jacques D'Amboise interpret and express this couldn't be finer, perhaps making it the equal of The Swan Lake Duet. Added thought: The ending when Jacques D’Amboise lowers Allegra Kent almost to the ground with her in a backward reclining position is possibly the finest single statement in dance that I've ever seen.
  18. Some video clips have be available for about a week. Oxana Skorik has been the most noticeable. She performed two classics, Le Corsaire and Don Quixote. Her dancing has all its refined loveliness. She performed some exceptional balances in Don Quixote and she normally has a technical surprise or two that are quite impressive. She also is seen in a brief, modernish work where she shows adaptability and sensitivity. Nadezhda Batoeva appears in Don Quixote with the ever amazing Kimin Kim, who miraculously seems to stay suspended in air as never before. Nadezhda Batoeva I’m developing a great affection for. She’s lovely, vibrant and highly talented. Her Swan Lake, which I saw at the Mariinsky Festival just before it closed was a burst of sunshine. She again looks as vibrant as possible. Many of these dancers have at times performed under quite demanding conditions over the years that I’ve watched them and I can only wish the best for them now. The Iliushkinas. There’s actually only one, Maria Iliushkina, and she looked just fine in the ‘dream scene’ adagio from Le Corsaire. She will be performing her second Swan Lake in about a week. As young as she is, there are already two younger artists with similar delightfulness. One is Anastasia Plotnikova, who just joined the company from the Vaganova and the other, Elizaveta Kokoreva, is actually at the Bolshoi but so Iliushkinish that I have to include her. Keep an eye on all of them.
  19. Sergei Filin did something similar, I believe, when he came in, ECat. Yekaterina Shipulina, maybe Maria Allash and perhaps another who had been around for awhile were made Principals. I somehow felt that his having danced during their earlier years may have had something to do with it, but that’s just a guess. Nina Kaptsova was also later made Principal. (Alexei Ratmansky before him, ‘youthened’ the company a lot.) Congratulations to Denis Savin. On the other hand this does not seem to happen at the Mariinsky and I sometimes wish that it would -- for instance Yekaterina Osmolkina (because I once told her that she should be, for one reason 😊)
  20. Sorry, Helene. Brilliant quote ! 😊 but not the one that I meant to post.
  21. As far as I know she was, Leah. See my September 4 post above. Maybe it's an oversight in the Mariinsky listing or maybe they haven't decided what level to start her at.
  22. ECat, Anastasia Plotnikova is actually now in the Mariinsky Corps de Ballet. Congratulations ! https://www.mariinsky.ru/en/company/ballet/troupe/ Graduation profile 2020 -- Senior teacher Tatiana Valerievna Solomyanko's class: Ayupova Renata, Versotskaya Sophia, Gorbacheva Anastasia (diploma with honors), Hoffman Yana, Drygina Karina * Plotnikova Anastasia (honors degree) * Selivanova Yesenia, Timanova Varvara, Urakova Alexandra (From official graduation video, Google translation) (Thanks to Jeannette at BalletcoForum)
  23. Just saw a video clip of a very young Anastasia Plotnikova (Vaganova, yes, graduate?) doing a variation (solo) from Don Quixote. She’s quite lovely with a delightful resemblance to the lovely and very young Maria Iliushkina, whom you might have heard me mention. 😊 Is she the next generation of Maria Iliushkinas ? Generations seem to last about 40 seconds in Russian ballet these days. Could anyone tell us about her ?
  24. Buddy

    Simone Messmer

    Here she is doing contemporary from quite a few years ago. Could be interesting. I think that classical presents the best stage for her because of its detail and dimension, but let's see. She's a great talent. I hope that she can hang in long enough to let us see it. Best wishes to her.
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