Buddy

This so reflects one of the things that I like very much about Olga Smirnova that I would like to post it again. It's a highly lovely and general definition of "Epaulment" from Clement Crisp. "In ballet, épaulement denotes the dancer's ability to turn, bend and shape the placing of the trunk, shoulders, arms, neck and head to produce the subtlest contrasts and oppositions. In Italian art it is contrapposto, and this is what gives life, veracity and power to a drawn or sculpted position. In classical ballet it turns the academic pose into the beautiful, the fascinating." http://www.ft.com/in...l#axzz2K8RzOIHP (In fact this quote is taken from his article highly praising Olga Smirnova, but it's generalized significance I hope makes it acceptable for being posted here.) [first sentence slightly reworded]

I guess of all the wonderful beauty that I see in the Odette duet there is one quality that I love very much. This would be the Dreamlike Flow that surrounds and weaves through the more animated and depthful expression (an expression that I find totally remarkable for her young age). There is so much more, such as beautifully sculpted and timed imagery, that I still can barely start to define it. Maybe it's better at times just to let it happen and take in the pure pleasure and absolute brilliance of it all.

Yes to Veronika Part ! Based on consistency in five or six performances, perhaps the greatest Odette (and Odile) that I've ever seen. From a different angle for a moment. 'I never thought I'd see the day' when I'd be watching someone performing Odette and someone else performing Carmen Suite with equal awe. I've been going back and forth between Olga Smirnova's magnificent Odette and a very segmented video clip, often disappearing behind the person sitting in front, of Oxana Skorik dancing Carmen. Two Absolutely Marvelous Artists ! Added: Oxana Skorik performing with Ilya Kuznetsov (the best characterization that I've seen him do) -- this is surely the most sensitive and poetic performance of Carmen Suite that I've ever seen.

Agreed ! She's Absolutely Remarkable ! In her Odette duet she does a 'swoosh' (forgive the strange sounding word for such a beautiful motion) towards the beginning, as she's being turned in attitude-into-arabesque, that takes my breathe away and sets the stage for a magnificence that I can only begin to describe.

As somewhat of an aside, Catherine, the chance to see some of the other dancers featured in the interlude has been quite wonderful. Ekaterina Kondaurova had her own Remarkable festival at this year's Mariinsky Festival. Also being able to see Oxana Skorik, Anastasia Kolegova and Maria Shirinkina much more than usual has been an absolute delight !

Great timing, angelica ! "Swoon..........."

Thanks very much, Birdsall, for your knowledgeable and thoughtful response. I tend to see the reality of the situation much as you do. What I'm perhaps alluding to, rather than "give and take", is a real interest and desire for all parties to enter 'heartfully' into the world where the others 'lovingly' live.

Since Valery Gergiev is at the center of all we've been discussing this might be a good place for a thought. When I listened to the orchestra without the video I was enchanted. I'm not that familiar with classical music and when I go to the ballet I generally pay total attention to the dancing. Today I downloaded the music to "Swan Lake" by the Mariinsky Orchestra conducted by Valery Gergiev (no dance, dated 2007). It's a rearrangement of the music from what we hear at the ballet today. I've read various comments on Valery Gergiev and how he conducts for dance. After listening to the famous lakeside duet music several times I listened to the same music conducted by Valery Gergiev for the Ulyana Lopatkina performance on dvd. The main difference that I noticed was that the non ballet version is so much more nuanced. It's not only tempo, but also feeling, a highly poetic interaction. When I listen to him conducting for the ballet dvd it is also beautifully felt but contained within a much more uniform context. It definitely has established its own musical identity, but it is one that seems much more at home with the dancing. I find both interpretations to be extremely beautiful. Based on what we've seen and discussed at this topic, could these two worlds come closer together? Would the dancers ever want to relate more closely to the musical possibilities? And, of course, would Valery Gergiev want to explore the music's potential for expanding the richness of the dance? Maybe some others here would like to comment on this?

Cristian, I tend to take her rather seriously, but I try not to take myself too seriously. All the remarkable artists that we discuss here are entitled to our good will and respect. Good will comments such as yours are always appreciated.

Cristian, I have to say that I think that she has great quality of motion as well. Also, having seen Oxana Skorik carry things right to the edge and succeed assuredly and magnificently, I'm inclined to give her a lot of leeway and a lot of credit.

Helene, although, in my mind, Oxana Skorik has *The Big Picture* covered beautifully, I think that you are absolutely right.

My only comment on Oxana Skorik for the moment is that I can't wait until I get a chance to see her again. Added later: A few whys. Based on what I've seen her do live, her Expression, both in her dance and in her facial interpretation, can be mind-boggling. Her lyrically refined Essence is remarkable. More recently I've noticed a basic perfection of moves that brings Mozart to mind. Like each distinct note of Mozart's music there is Beauty, Refinement and Clarity. (This was most noticeable in her "La Bayadere" at this year's Mariinsky Festival and can be seen in much of her Mariinsky II "Diamonds" performance on the video that many of us are currently watching. I would say that of all the performances on this video that I've been rewatching, I've returned to hers the most.)

My congratulations also to all the new parents and children. Thanks a lot volcanohunter for your detailed listing. For those wanting to use this as a guide for watching the video that is still online the timing has changed somewhat. Subtract about 30 minutes (27 is more exact) from what volcanohunter has posted on page 6. http://liveweb.arte....nt_Petersbourg/ (For example Ekaterina Kondaurova's Brilliant "The Swan" is now at 57:40 instead of 1:24:20.) Also if you stop the video and can't get it started again click the "Reprendre La Lecture" box. I haven't noticed it posted yet but Viktor Baranov was Ulyana Lopatkina's very fine partner (according to Moscow Times article). Back to the building for the moment. Parts of the outside appearance may continue to be a subject of scrutiny but the inside, so far, seems to be a resounding success from all the press reports that I've read. I'll be glad to post the sources somewhere if anyone wants me to. [Here are some of them anyway. Thanks to the forums where I found these.] http://www.telegraph...mless-gala.html http://artsbeat.blog...gala/?ref=dance http://www.themoscow...ers/479541.html And: Lots of credit to Oxana Skorik and all for hanging in there with what seemed to me to be a speed of light orchestra finale to Diamonds. Added comment: I'm about halfway through just listening to the 'soundtrack' (no video) and its absolutely beautiful ! [typo correction made and thank you, Helene, for adding the time notations]

It looks like tonight and tomorrow will be ballet at Mariinsky II. This is nice to hear for a lot of us. http://www.mariinsky...ybill/playbill/ I really don't know very much about opera, but I thought that the voices were beautiful. I guess that ballet dancers do appear at times in an opera. I, personally would love to hear their voices at more dance performances. I guess tempo is always a factor when Valery Gergiev conducts for dance, but I do feel that the orchestra sounded great. All in all, I thought that it was a beautiful evening. Added thought: The ballets scheduled for Mariinsky II are Jewels, Bolero and Symphony in C. I wonder if this is an indication of how the new theatre programing may be oriented. With the unraked stage is there a possibility that we might be seeing something resembling two sets of dancers in the future? One more used to the unraked stage and perhaps more 'modern' and the other main theatre group more traditional in emphasis. Diana Vishneva, for one, has suggested that the new theatre might encourage more 'modern' programing, which she supports. http://www.mariinsky...s2/26_230march/

I'm pretty sure that it's Anastasia Kolegova, Natalia. "WOW, Kim Kimin - extraordinary!" He Always Is !

Very interesting idea. Thanks, Catherine. Do you know anything yet about new dressing room space etc. for the ballet dancers in particular ? Have a great time !

Thanks, Natalia!! Please keep the RT and other reports coming in. It looks like things are off to a good start. Last night's performance (shown in Natalia's post) was actually a pre-official opening, full performance for veterans and Mariinsky personnel.

You're very welcome, Natalia ! Olga Esina, Vaganova graduate, now at the Vienna Staatsballett, has been added to the list. Her Swan Lake performance at this year's Mariinsky Festival was one of the Absolute Highlights ! She's Great ! http://www.mariinsky...013/5/2/3_2000/ (thanks again to the french language forum for posting this site)

Here are some more places to try on the internet for today's gala if they haven't already been mentioned. Mezzo et Mezzo Live HD (Noon US east coast) Perviy Kanal (Russian) Arte Live Web Mariinsky TV and Mariinsky FM (This information and a lot of other great stuff about the Mariinsky can usually be found at the site in french that posted this. I won't say more because of my understanding of Ballet Alert's policies, but it does seem that other forums could at least be thanked when appropriate. Also the Mclean's article that we've been discussing about the Mariinsky II was first posted elsewhere and may have remained solely there if it hadn't been brought over here. I know that these matters aren't simple, but I just thought another point of view about them might be helpful. Maybe a moderator would care to comment on this sometime.) [Corrections made above: the Gala is "Today" and the Mezzo broadcast is at Noon US east coast]

Thanks, Natalia. Back to sight lines for a moment. By looking at the pictures in the Mclean's article you can get some idea about sight lines. Second picture down is the Four Seasons in Toronto. Fifth picture down is the Mariinsky. http://www2.macleans...they-will-carp/ I really haven't studied these pictures, but I may give it a try. At first glance at the Mariinsky II, it looks like the architect at least gave it a really good try. The upper boxes nearest the stage all seemed to be used for lighting equipment or doorways only and it looks like a lot of front row only seating in the upper boxes next to these. I would imagine that all orchestra seating is good visibility. The orchestra pit is far down and the first row is fairly well back. Whether the seating area is sloped and the seats are not directly in front of each other I can't tell. The balcony seats in the front of the picture are staggered. Stage seems elevated enough. Raked? I will say that when I made my statement about "perfect sight lines", that was my choice of words based on what I've read. I can try to locate an actual quote if anyone really wants me to, although the concluding evidence will depend on the truth and even that could be somewhat subjective. [typo correction made] [also a correction, apparently the Mariinsky II stage is not raked] Comment added next day: In the orchestra level seating area, the floor is indeed sloped and the seats staggered. (click on second picture down slide show and look at first photo) http://www.the-villa...4997-mariinka-2

I'm sure a lot of folks here are looking forward to the actual opening of the Mariinsky II in a few days. I am and will be glad to see the future discussions about what is the most important to us, the Mariinsky Ballet. Thanks for the few quick comments about the possibility of viewing some of the opening on the internet. I'm in Europe so I'll see what kind of luck I might have. Much of the discussion in the press and on the internet has focussed on the new building. I'm sure that will change in a few days, so this may be some of the last discussion here about it. As I mentioned a few posts back, I've always been very fond of the Initial Models for the design that was eventually replaced. It's the Golden Shell design, which is also ultra modern. Again the third and fourth pictures down are perhaps my favorites. http://www.arcspace....e-mariinsky-ii/ The design was heavily debated. Did it really fit into the scale and beautiful historic fabric of St. Petersburg was one question, a perfectly valid one. My affection for this design is that, for me, there was something 'Ethereal' about it, at the beginning anyway, the same quality that makes me love the ballet. So now we have a new and different building. Overall it should work quite well functionally, even though us ballet followers are scrutinizing the allocation of the facilities and the unraked stage. Also the massive exterior appearance of some of the building is being heavily debated. As possible members of the audience, I think that we will be quite pleased with how the building works. The inside looks very beautiful and initial studies and comments seem to confirm that it works very well. Every Seat will have a perfect view and the acoustics are supposed to be excellent. I'm very much looking forward to seeing my first ballet performance here, hopefully next year.

Allegra Kent: "We worked in the large sunny Miami City Ballet studios, which have picture windows visible from the sidewalk. Casual strollers can watch classes and rehearsals while walking by. A generous concept." http://www.dancemaga...-La-Sonnambula. The more massive part of the Mariinsky II building, Natalia, is probably the least noticeable. The main traffic is in front of the old theatre (new theatre is behind) and in front of the glass main entrance to the new theatre. Added later: The second picture down shows the intersection of the two main streets. Some sunlight or illumination (which should now be working) would have helped this photo. http://ellmikhaleova...com/533391.html

Another thought, Natalia. It might be possible some day to add an outside walkway balcony to the studio area to make outside viewing of the practices a reality. It shouldn't be that great of an expense compared to what has already been spent. It might even add to the exterior appearance of that part of the building by breaking up some of the massiveness. It could maybe be tied into the suspension bridge passage way for weather protection. (again referring to window area in back, at the left of photo) http://smirnoff-98.l...alog/791/180194 And: Where should we set up our shingle ? "Natalia and Buddy Architectural Designers"

Hi, Natalia. I'm not sure that it is possible to see the artists practicing from the outside. The large studio windows seem to be located on the second and third floors. I thought that it might have been a nice idea to be able to view them from the sidewalk, but the design was actually different. (windows in back, at the left of photo) http://smirnoff-98.l...alog/791/180194 Two thoughts come to mind. I had a figure skating teacher from the Ukraine who told me that as a child her grandmother would give her the cholce of visiting the local gardens or watching the ballet dancers practice from the sidewalk. Her choice was always to watch the ballet dancers and she eventually went into figure skating. The second is that I've read that you can do this at the Miami City Ballet building and it's a very popular pastime. You're right. I would love doing it. Added comment: All the new building is by Diamond Schmitt Architects as far as I know, Natalia, except for the fact that it rests on some of the original design's foundations.

Thanks for your thoughts, Cygnet and Birdsall. I also have a lot of ongoing interest and emotion attached to this project. From the photos shown in the Maclean's article, I feel that the interior public spaces are quite beautiful, i.e. the seating-performance area (warm and comfortable) and the stairway-lobby area (exciting). Both are pictured at the bottom of the page. http://www2.macleans...they-will-carp/ I still have a great fondness for the Exterior of the Initial Models for the 'space age', golden shell design, a design which apparently was changed considerably along the way. The design was debated for practicality, compatibility, ect. reasons (which I can totally sympathize with) and finally replaced with the selection of the new architects and the now existing building. (I like the third and fourth pictures down in particular) http://www.arcspace....e-mariinsky-ii/ Although allocation of the facilities is being debated, by ballet fans in particular, the functioning of the facilities should be excellent. I would also add that I like the old building very much. I think that it's Beautiful !