Buddy

Peggy, I was so Enchanted by her performance and it was such a nice evening that I went to the stage door to congratulate her, something I seldom do. After about a half hour she came out. She was as polite and lovely as could be possible. Although you could see that she wanted to leave after about ten minutes she stayed on until absolutely everyone who wanted their picture taken with her or an autograph was totally satisfied. I was once again so Enchanted that I still haven't been able to really focus on her performance which was one of the finest that I've ever seen. I have to catch a plane, but I'll try to comment at another time. I will say that she has a manner totally her own and it is spellbinding in its refinement and expression.

Maria Kochetkova ***** A Gem *****

And.... Greetings from Maria ! https://twitter.com/balletrusse/status/344880463590080512/photo/1

Back to DC from my day-trip to NY for this. In a word: GORGEOUS! Exquisitely lyrical...and no embarrassments technically! Natalia, I'm so glad that you liked her as much as you did. I'm seeing five performances, of which I've been totally captivated so far. I would love to have seen Hee Seo, but five seemed to be just right to keep it all from becoming a job rather than 'a magic carpet ride.' I'll greatly look forward to seeing her another time.

Isabella Boylston Totally Committed, Totally Successful, Totally Lovely and Totally Precious !

I do feel that Cory Stearns at the end did make a 'valiant effort.' I could write a book about this one but after seven Veronika "Swan Lake"s I still find her to be… Absolutely Great ! Cheers as usual to Simone Messmer.

Maybe I could add one more comparison, that of Oxana Skorik and Alina Somova, to this discussion because they are both somewhat similar examples of young Mariinsky beauty. I tend to like Alina Somova very much for the lovely sense of flow in her motion in addition to her many other excellent qualities. She also has the same basic fineness that I love so much in Oxana Skorik -- the beautiful highlighting and positioning as well as the highly graceful motion. I have to clarify my description of Alina Somova by first saying that there are a number of video clips on the internet that do not illustrate the *Consistency* of remarkable beauty that I've seen in *All* of ten or so Live performances. Also she seems to 'experiment' more recently in her Live performances as if not wishing to take the 'easy way' out even if doing so might produce a more remarkable result. Sometimes she's obviously brilliant. Other times she seems to carry things to a certain point and then as if to say, "See, I can do that," she moves onto try something else. As in the case of other artists, such as Svetlana Zakharova and Svetlana Lunkina, both of whom eventually accomplished this, in my opinion, I'm still waiting to experience the 'Ultimate(!)' performance that I know she is capable of. Let's see what her return brings. I know, based on what I've seen, that she is capable of remarkable beauty. Based partially on video clip watching of recent performances, Oxana Skorik seems to be displaying a more contained beauty. In a spectrum I would say that she is essentially the most subtly refined, Alina Somova being slightly more expressive because of her flow and sometimes emphasis, but also highly refined, and Olga Smirnova (mentioned yesterday) being the most expressive along with her beautiful refinement.

Thanks, Drew. I haven't been in the new theater yet but I hope to at least have a look next year. For me the old theater actually has a wonderful cosy feeling like a big friendly living room. The chairs, although attached somehow, are almost standard house chairs. After a couple visits and recognizing familiar faces it can really feel like home. Added comment: Did you by any chance get to take a look inside the Mikhailovsky Theatre? It's been beautifully renovated. http://mikhailovsky.ru/en/theatre/

This is a very unusual quality. It reminded me of something Arlene Croce wrote about Suzanne Farrell, (Originally published in The New Yorker, July 23, 1979 and republished in Going to the Dance p.203) Clement Crisp: "I saw superb performances by Suzanne Farrell, for whom a fascinated Balanchine made Diamonds. Smirnova’s radiance, the unaffected nobility of her manner and the charm of her means make the role hers. She creates something magical and it touches the spirit. Not since the earliest performances by Altynai Asylmuratova have I seen so luminous a debut. We have much to hope for." http://www.ft.com/in...l#axzz2K8RzOIHP My feeling, Helene, is that Olga Smirnova is very young and incredibly talented. Her learning curve must be amazing. She was an all "A" student, at least before she turned her total attention to ballet. As she gets into and learns her way through a role the results are exactly as exciting as we are describing. Others might be learning. She can create one-of-kind masterpieces within the same work during the process. This brings up one other thought that I wanted to try to express here. It goes back to comparing Oxana Skorik with Olga Smirnova, a comparison that still interests me greatly because of their somewhat parallel and speed-of-light rising to stardom and because they come from a strong Mariinsky sphere. Olga Smirnova was a Vaganova (Mariinsky) school prodigy and Oxana Skorik may be the next Mariinsky 'flagship.' My thought 'at this time' (because Olga Smirnova could be a 'different person' tomorrow), is that Olga Smirnova is more articulated. Her moves, her highlights, her characterization -- her amazing depth -- are generally more dramatic and expressive. This is where her 'genius' is the most apparent. Contained within this is her Mariinsky fineness. With Oxana Skorik, her Mariinsky fineness is very prominent. Contrary to how I view Olga Smirnova, Oxana Skorik can then surround or add to her fineness a layer of powerful expression, physical and character wise, which once again I call 'genius'. It can be so powerful and apparent that it knocks you out of your chair. Maybe that's why I call this 'genius', because of the Wow factor, rather then giving similar credit to her equally remarkable refinement. Her other 'genius', which might be the case with Olga Smirnova as well, is what doesn't knock you out of your chair -- subtle 'genius.' This is something that I'm seeing more of. It's the restrained brilliance that might be barely noticeable.

Good news, Natalia. I believe that Svetlana Zakharova said that she was back practicing several weeks after giving birth. She's also said that her daughter's happiness is now what she lives for the most. I saw her perform in London about six months later and was amazed at the great shape that she was in. In addition, as I implied above, I think that her total commitment to character and her performing in general have moved up to another level. Added comment: Cristian, by "basic beauty" I wished to imply learning as well, which might be closer to what you value. Also by "basic beauty" I'm referring to admittedly my slight bias. I tend to divide dancers into two broad categories, (1) refined/ethereal and (2) expressive (expressive: Diana Vishneva and Natalia Osipova being fine examples). I appreciate both very much, but my love seems to be somewhat with the refined/ethereals, which I probably am thinking about when I talk of dancers with "basic beauty."

A Step Beyond A Step Beyond is perhaps what we call greatness. I would say that Anna Pavlova (based on 'The Swan' video clip) and Galina Ulanova are two of the finest historic examples. Other ballerinas have this ability, but the degree to which they use it or can accomplish it varies. There are ballerinas who are basically exceptional. In today's world I would include Ulyana Lopatkina (possibly one of the greatest ballerinas of all time for her basic beauty alone), Veronika Part, Alina Cojocaru and Svetlana Zakharova. Some younger dancers are Oxana Skorik, Ekaterina Kondaurova, Alina Somova and Olga Smirnova. As for a Step Beyond, I would say that Veronika Part lives there. Alina Cojocaru also. Svetlana Zakharova, in my opinion, in the last two years since the birth of her child, has entered this realm. Ekaterina Kondaurova, at this year's Mariinsky Festival, unveiled a level of exciting acting prowess that I've never seen at the ballet before (except for Alina Cojocaru), possibly rivaling some of the Hollywood and Broadway greats. Both Oxana Skorik and Alina Somova are very capable of taking a Step Beyond. I've seen them both do it. Olga Smirnova is always pushing her boundaries to the extent that I sometimes don't recognize her in the same role from one performance to the next. Oxana Skorik and Alina Somova interest me very much. I've seen them carry their performances well beyond their essential loveliness. To what degree they will continue to do this will be very interesting to see. Maybe it's not necessary. Sometimes Basic Beauty is more than enough. I would say that this is the case with Ulyana Lopatkina and perhaps with a younger dancer, Maria Shirinkina. Alina Somova along with the very young Olga Smirnova seem to be 'experimenting' more. Oxana Skorik for the moment seems to be consolidating her basic beauty. Also as the video clip posted here of her daily life explains, she is now being asked to and taking on the task of mastering a large number of different works. Oxana Skorik very much captures my imagination, both for her essential Fineness and for her ability to be 'Explosive' in her expression, definitely a Step Beyond. And there is more. She can be equally subtle. As Mariinsky Ballet Artistic Director Yuri Fateev says (as translated here earlier by Catherine), "In addition, she has depth, she has an internal world." So it should be hopefully great to see where she goes and how she charts her course. [spelling correction made]

Alina Cojocaru was also the Mariinsky's unprecedented guest star at five of its Festivals in a row until her injury after which she returned for one more which may have been one of her greatest performances. I'll certainly miss seeing her and Johan in London. Thanks for the Maria Kochetkova info. Actually I live part of the year in California, but at the other end of a rather big state. Mention of a chance to see Myriam Ould Braham was just a momentary reverie.

I've got a ticket to that one -- but Maria Kochetkova, whom I love but never get to see, is her replacement, so what can I say except best wishes to Alina and Johan no matter what. Added later: If there are any more replacements could Myriam Ould Braham be arranged ?

I'd like to mention that at the major British dance forum (1279 members) there has been over 5,000 'look ins' since this news was first posted this morning.

I've been going back and forth between some internet video clips of Oxana Skorik performing two very different works, Le Corsaire (the pas de trois (dance for three)) and Carmen Suite. A very fine quality that is catching my attention for the first time is in the use of her hands. They seem to greatly extend the space in which she is performing by suggesting images and creating interest that reach way beyond her physical presence. Also there is lovely nuancing in her hands.

Jayne, thanks for reminding me how many times all three dancers, Oxana Skorik, Ekaterina Kondaurova and Anastasia Kolegova performed in those two weeks along with corps de ballet members, etc. who may have performed every night. I don't know how demanding Swan Lake is in terms of shear physical stamina, but I would have to give all the Mariinsky dancers, Oxana Skorik, carrying a major responsibility in Costa Mesa, a great deal of credit. In all honesty, I didn't feel that physical demand was noticeable in her dancing, but I'd have no way of knowing what the reality was. Her main concern seemed to be confidence, and when she had that she took things to the limit -- magnificently. When she didn't seem to be totally secure, she still did remarkably well, in my opinion. And as I alluded to before, the performances where she seemed to be less confident, for me, produced some of the most impressive results overall. I guess one of the reasons that physical demand didn't occur to me is that I've seen this happen many times at the Mariinsky. Dancers appear again and again in a short time span, probably because of limited casting alternatives. I start to take it for granted. If my memory is correct, Evgenia Obraztsova at one of the Festivals, performed the lead to Ondine, two nights in a row. I'm sure there have been other similar instances that I don't recall for the moment. I certainly agree with you that 'pacing' is very important, but for one reason or another it doesn't always happen. In any case dancers in many companies have to be given great credit for pure physical stamina. I often feel that dancers are made up as much of steel as they are of soul.

I saw all seven "Swan Lake"s in Costa Mesa, Ca., last October, and loved them all. Oxana Skorik (3), Ekaterina Kondaurova (2) and Anastasia Kolegova (2). I felt that Oxana Skorik's performances, two of which weren't flawless ( and one I thought essentially was), showed 'genius' and were a 'privilege' to have seen. I think that I was impressed ! One of the qualities that I remember so well was how Oxana Skorik was able to take her outstanding physical prowess and use it to add layers of expression to the feeling and significance of the work, rather than just being a show in itself. Also her facial commitment (as well as her physical) at times went right to the edge and she managed it with assurance and 'genius'. Also I think that discussing internet videos here is perfectly fine if you accept them for what they are. I've found that they often do not convey what I felt (and even saw) at particular stage performances, but it doesn't have to be that way and they can certainly offer valuable insight when kept in perspective. Added comment: I know that this topic has been a bit 'edgy' at times and I don't want to now make it seem that the 'smileys' , such as myself, are now taking it all in the opposite direction, but my enthusiasm is what I truly consider justified and I would feel it insincere and not fair if I didn't express it. [first and third sentence added to slightly]

I would think that what Ivan Vasiliev expressed also represents the opinion of many, perhaps most, of the Bolshoi artists as well as most individuals as to why they're in the art form, but this is just my opinion. What I'm trying to say is that it's a love of beauty and the art (and the environment that nurtures and supports it) that supersedes many of the other things that might be happening. (Again, part of the quote: "Personally, I love the Bolshoi theater, it’s our alpha, how I started and part of my soul.”) [second sentence added later -- and reworded]

It's somewhat heartening during all this to hear a comment like this. It's from Ivan Vasiliev, who left the company several years ago. He was asked about the Sergei Filin 'affair'. “I can say nothing about this,” said Mr. Vasiliev, when asked if he had been aware of tensions and hostility during his time at the Bolshoi. “It’s not the ballet world, it’s criminal and something really terrible. Personally, I love the Bolshoi theater, it’s our alpha, how I started and part of my soul.” http://www.nytimes.c...wanted=all&_r=0 (I'm not sure where I first saw this article, but thanks to whoever posted it) [edited several times to get print size correct]

Thanks to everyone for trying to keep this topic running as smoothly and fairly as is possible.

Awhile back someone asked me if I could be more specific about what it is that I like so much in Oxana Skorik's dancing. It's the way she holds herself, the beautiful motion of her arms and hands, her beautiful motion in general, and on and on. I don't tend to analyze it too closely, preferring just to enjoy it greatly. Also, for me, the beauty is in the totality. If a performance isn't flawless it doesn't detract, for me, if the totality remains so overwhelmingly lovely and the beautiful foundation from which it is derived is made so apparent.

I just made a comment about Oxana Skorik having been brilliant because she may have been outside her comfort zone. This may have been the reason, but in any case I did think that she was brilliant. What I wouldn't want to imply is that an artist has to do this to be great. I would wish all artists to be as healthy and happy in what they are doing as is possible. In fact, for me, this would be the most important thing.

Birdsall, I think that the ballet means a lot to most of us here, which is why we sometimes get so passionate about it. It is one of the highlights of my life and I hope that it continues to be one in your life as well. Very best wishes. [Dale, I posted my comment before seeing yours]

Thanks Dale for your comment and everyone else for your interest. I can understand some of the comments about 'hesitations' although I've not seen that much of it in my stage viewings. I've also seen some rock solid stage performances. It is also what I have to refer to as her *Beautiful Essence* that I find so wonderful and for me supersedes everything else. I would like to make a comment that is kind of interesting. In one of her performances, which may have had the most 'hesitations' that I've seen from her, I was actually the most impressed. It was maybe because she was out of her comfort zone that she produced some of the finest stage brilliance that I've ever seen. [the word "ever" was added to my last sentence]

I've seen this video clip also and I think that it gives a very nice and sympathetic view of Oxana Skorik and Timur Askerov. When I think about Oxana Skorik at this point in time I tend to focus on a quality that is so essential in my enjoyment of lyrically beautiful dance. This quality is the refined and dreamlike flow of motion. I think that this is the essence of what makes Oxana Skorik so special for me. She also has other exceptional qualities that make her equatable to two other young dancers that I like very much, Alina Somova and the youngest, Olga Smirnova. In this respect, I consider them to be among the most 'interesting' 'classical' dancers today. But for the moment I'm thinking a lot about lyrical flow. In a recently viewed internet video clip I've noticed something else that I've not strongly felt before in Oxana Skorik, a 'Natural' and gentle overall expression that so compliments the essential loveliness of her motion. In at least parts of Alexei Ratmansky's Cinderella (internet video excerpts) Alina Somova shows very similar beauty. It makes them both -- lovable as well as ethereal.