Amour

Well tonight's Spartacus was a letdown after Friday night. Rodkin simply isn't as thrilling a dancer or actor as Lobukhin. Although he is strong ( you have to be to do this part) he isn't as strong as Lobukhin. His jumps and turns were all great but when it came to the Act 3 PDD. I felt myself praying he was going to get through it. He did (though in the 1handed lift he made a smaller circle than Lobukhin) he even ended with what I like to think of as "a Vasiliev" (an arabesque, and one that was about 70 degrees!). But I didn't feel he danced it with the same confidence and security Lobukhin did on Friday. As for Krysanova, she was a big disappointment as Aegina. She is a perfectly competent dancer but in this role she is simply not in the same league as Zakharova (and I'm not usually a fan of hers). First, Zakharova has amazing physical gifts: very long legs and arms, long beautifully arched feet (really gorgeous feet!) unusually great flexibity and extensions and here, an ability to make stunning shapes and poses. But more impressive to me was how this usually cold dancer took complete command of the stage Friday night with her strong stage presence. When she was onstage, Zakharova was riveting; you couldn't take your eyes off her. In comparison, Krysanova seemed dull and never held my attention. I found it hard to believe she was the sexy, cunning courtesan to the Roman leader. Aside from having lots of solo choreography, she didn't really distinguish herself from the other courtesans onstage. I did like both Lantratov (Crassus) and Vinogradova (Phrygia). I was very impressed by Lantratov's strong gestures, acting and dancing (those triple tours) in Act 1. At that point, I felt he was stronger than Volchkov from Friday night. I think Lantratov began to run out of steam a bit as the ballet progressed (who wouldn't?) but I found him every bit as believable as Volchkov in the role of Crassus. Generally, I think Lantratov has strong stage presence and is a good dancer. I also liked Vinogradova much better than Nikulina. First, she is a better actress and was more soulful (and effective) about communicating her despair. I also prefer her as a dancer. She has a great jump, good flexibity and a nicer line than Nikulina. Both dancers are clearly strong and, again tonight, when Vinogradova lifted her lower leg in passé, at the end of the Act 3 PDD, the audience gasped as they had Friday night when Nikulina did it. I have to say that despite my complaints or reservations about certain performers or the choreography, this ballet is tremendously physical and the sheer amount of great athleticism it requires is phenomenal. I feel like every dancer deserves a shoutout simply for having performed the ballet and gotten through it with great skill (and no falls, slips, botched lifts or any one of a number of things that can go wrong). I can only imagine the fatigue and pain each of these dancers feel after three hours of such brutally demanding choreography. So kudos to all of them, from the corps to the principals, both night's cast. Bravo Bolshoi!!!

Just came back from Spartacus. This was my first time seeing the entire ballet live and it was a lot of fun. I (and much of the audience) found parts of it a little campy and started laughing (some of the male corps scenes with the Roman outfits and sword). However, an acquaintance of mine who was born in Moscow didn't understand the laughter and was a bit offended. (I tried to explain that for Americans, some Grigorovich can be a little over the top). I thought Lobukhin was really fantastic as Spartacus. All his dancing was terrific but the PDD in Act 3 was spectacular. He held Nikulina (Phrygia) high aloft in 1 hand and did a huge circle around the stage with her. A little circus like but still thrilling. Volchkov was very impressive as well. His triple tours were perfect and he did a great job of portraying the powerful Roman leader. For her part, I thought Zakharova did a very good job with the role of Aegina (and I'm no fan of hers). She finally came alive in the role and did some acting, showing cunning and sensuality. Her lines are fantastic, she still has great flexibility and what gorgeous feet! She does, however, have a rather annoying tendency (as Macauley noted in his Times review of Swan Lake) to be conducting the audience during bows. (And the audience only gave a standing ovation when Lobukhin finally came out to take his bow). These are also very skimpy costumes and Zakharova looks rather emaciated. For her part Nikulina was more than adequate as Phrygia. She has a long solo in Act 1 and I was impressed by her stamina (though not the actual dancing so much). She also got through the Act 3 PDD without a hitch and the audience gasped when she righted herself while being held high by Lobukhin. Tomorrow will return to see the 2nd cast of Spartacus. We'll see how they compare.

What was not clear to me (maybe a little from the podcast) was why this was such a complicated disease. I, too, have an underactive thyroid (for 30 years) but have simply taken synthetic thyroid medicine (synthroid) and problem solved. I have always been underweight (although I know some people gain some weight) even before I was put on synthroid. My only symptom was the fatigue and feeling like I was sleepwalking. I truly admire Morgan's determination and perseverance. But you should check out the workout videos she puts on twitter. It is no wonder she is meeting with resistance from ADs with the way she looks now. She should definitely not audition until she drops the weight and gets back into professional classes. To do otherwise be, I'm afraid, would be looking for rejection and masochistic. I do feel it would have been nicer if Peter had met with her instead dashing her hopes in an email. However, my business minded husband said that since Morgan broke her contract, Peter owed her nothing and Morgan should have realized Peter simply might not need her anymore. Anyway, life is going on for her and I truly wish her the very best.

Are you saying this was Smirnova's first SL? I'm sure I've seen her do on YT (maybe it wasn't filmed in Moscow though).

Back from the evening performance of Don Q with Kretova & Lobukhin and happy to report it was a success (at least in my eyes as well as the audience, who was much more enthusiastic tonight). Kretova has the high jump and flexible back that one expects of Kitri. Lobukhin (another Mariinsky refugee) is not only virtuosic but a great actor with much charisma. He and Kretova had tremendous chemistry and comic timing, with the audience erupting in laughter at many points. My only very small quibble was that Lobukhin's one handed lifts were not quite as impressive as Lantratov's. Unbelievably, Anna Tikhomirova (street dancer) and Denis Rodkin (Espada) were even more brilliant than yesterday (the cape swirling done perfectly). I also have add that tonight Kitri's friends, Chinara Alizade & Daria Khokhlova were a joy to watch: each had beautiful technique and they were perfectly synchronized. In short Act 1 was fun and lively, something it wasn't last night. In Act 2, Kristina Karasyova was a wonderful Mercedes (again better than Sharova last night). Anna Antropova as the gypsy was good as was Maria Zharkova repeating the role of Spanish. All these women have amazingly flexible backs that make their dancing something special. Anna Nikulina (Queen of the Dryads) had none of the refinement and elegance of Smirnova last night. But she has a solid jump and looks like she came from the same planet as Kretova. While this works in an ancillary role, though, there was nothing intrinsically interesting about Nikulina's dancing that would want to make see her in a Swan a Lake, for instance. As for Yulia Lunkina (Cupid again, subbing for Daria Khokhlova), I found again her dancing to be meh;the most notable think about her was her coal black shoes. Act 3 was a continuation of the excellence of Act1. Kretova's balances were long (one especially long one got a round of applause) and her pirouettes perfect. She started her fouetté combination by whipping off a series of triples (I think I even saw one quadruple) and then, as the music got faster, escalated into an impressive series of singles ,Lobukhin's jumps and 580's were impressive but again his lifts were not long and not as good as Lantratov's. The fish dive, though, was perfect tonight. And again, I have to gve a shout out to the lovely Maria Vinogradova, with her clear, high jumps, for delivering a perfect Wedding Pas first variation. In sum, I'm very glad I came to see this production tonight to be reassured that the Bolshoi can still deliver a top notch Don Q.

Tikhomirova danced her first Kitri earlier this year. The Bolshoi has already been forced to go to a back-up Kitri in Kristina Kretova following the withdrawal of Ekaterina Shipulina. Theoretically, if the need arose in Saratoga, Tikhomirova could also step in, though she is nowhere near as experienced in the part. I think Tikhomirova would make a great Kitri. Tonight, as I watched Alexandrova & then Tikhomirova, I wished the latter WAS Kitri.

I forgot about Alexandrova's injury (suffered in London last summer, I believe). So her weak dancing was not a matter of age but of not having been able to fully recover from her injury.

Just came back from Don Q and, again, the first cast was a disappointment (why does Filin keep doing this). Alexandrova is really past her prime for performing Kitri and Act 1 showed it. She really has no jump left (let alone touch her head to her back foot) and barely got off the ground; she also has a stiff back and she was rarely on her leg in supported pirouettes. She also had no flair for comedy and little chemistry with Lantratov (Basilio). As a result, Act 1 wasn't the really fun time it usually is. Lantratov is very strong, has some charisma but without a strong, fun partner he was hard pressed to do all the heavy lifting (so to speak) on his own. Luckily, Denis Rodkin as Espada and Anna Tikhomirova as a street dancer had both technique and chemistry in spades and saved Act 1 from being a total bore. Act 2 was saved by dancers is secondary roles. Maria Zharkova (Spanish) Kristina Karasyova (Gypsy) and Oxana Sharova (Mercedes) had beautifully flexible backs and danced with requisite ethnic flavor. Olga Smirnova was gorgeous as Queen of the Dryads though I did find her beautiful Vaganova epaulement and ultra classical line did stick out in a sea of Bolshoi dancers not similarly trained. And she and Alexandrova did not look good together. But I was happy to see Olga has quite a strong jump so clearly she is working to try to assimilate some Bolshoi features into her dancing. As for Cupid(Yulia Lunkina), she was quite unremarkable, not spritely or playful. Act 3 was an improvement on Act 1 for Alexandrova. She had good balances and kept up with the very fast tempi (these Bolshoi conductors make Balanchine's pace look slow). Her fouettes were all singles and traveled but she managed them adequately. She was successful in projecting the stately demeanor of this act (as opposed to the comedy of Act 1) and her technical flaws weren't in as much evidence (though the fish dives were a bit of a mess). But, IMO the star of this Act was the lovely Maria Vinogradova, who performed the 1st variation in the Grand Pas. She has a clear, high jump here (in SL, as one of the Brides, she had lovely ballon). I predict she is a dancer going places. In sum, this was a mixed bag kind of night. Still rather boring and not cast as well as it could have been (I would have liked to see Lantratov with a younger, more able partner). I saw Macauley there; I wonder what his verdict will be.

Thank you posting this link,danc1988. Ever since I watched the Russian television show "Big ballet", i hâve anticipated lovely performances from Tikho. It is a shame she has been (seemingly) overlooked ny Filin in favor of Olga Smirnova. For me, Olga has got not only the great physical gifts but an ability to interpret a role that far exceeds her years. However both Smirnova and Zakharova have a very classical look (having trained at the Vaganova). Tikho, with her tremendous jumps and outgoing personality, seem more in line with my expectations of a Bolshoi ballerina: big, showy, power steps and a larger than life stage presence.

I truly do not know what to make of David Hallberg. He came into the ABT season late and, IMO, gave a very unimpressive showing in Giselle with Alina Cojocaru (those brise voles). Then he left early to rest a foot injury. I thought his Siegfried with the Bolshoi on Tuesday was similarly very unimpressive. From what I have read about the Krysanova/Hallberg Swan Lake, he also struggled with her as well (not just Zakharova). Is he still injured? Is he not being pushed enough at the Bolshoi? This is not the same dancer who used to wow me at ABT.

I have to say that my understanding is that Zakharova left the Mariinsky for the Bolshoi because she refused to take their critiques about her dancing (her ultra high and not classical extensions, musicality,etc.). I, for one, am not impressed by flexibility alone. In a ballet, especially Swan Lake, I expect to see some dramatic interpretation. I truly felt that Zakharova has not grown at all as a dramatic artist in the same way that someone like Diana Vishneva (who is adored here) has. It really seemed like she was "phoning it in" and expecting the audience to love her based on her reputation alone. I also feel she is a very unmusical dancer. In sum I continue to be of the opinion it was a very disappointing and boring performance from her (and David Hallberg as well). I would like to say that not every Bolshoi performance has been reviewed harshly. I saw Semyon Chudin and Olga Smirnova later in the week in Swan Lake and thought they were FANTASTIC. I believe others on this forum who saw them felt similarly. I believe they are two artists who exceed anyone we have here in the U.S. I have also read very positive things about Krysanova's Swan Lake. Unfortunately, because none of these three artists were in the Bolshoi first cast, they did not receive a review (at least yet) from the NYC press. I would also like to add that I do not believe anyone believes ABT has a good production of Swan Lake (I like the Mariinsky best) or that the company is without major problems. It is just that expectations for the Bolshoi (and any Russian company) are exceedingly high, especially after an absence of 9 years. I think we are all thinking Don Q.wii be much more of a success.

I have a Blu-Ray of the Mariinsky performing Balanchine's Jewels. I always find it off-putting to see Zhanna Ayupova's coal black shoes in the a Emeralds section.

Mathilde, I'm curious how Muscovites found Zakharova when she first arrived. I first saw her when she guested at an ABT SL years ago (she was still in the Mariinsky then). I found her cold, charmless and intent only to prove she had 180 degree extension. It was a terribly boring performance and Zakharova has never appeared with ABT again (Kevin McKenzie clearly preferred her nemesis. Vishneva). I now find her even more icy, charmless and BORING! How can she be the Bolshoi's prima?

When I first saw Smirnova live, at the 2012 Stars of the 21st Century gala, my impression was of a "cool" (not really cold) ballerina, albeit beautiful and technically wonderful. I also had the same impression watching that years Russian TV show "Big Ballet" (though I never understood the critiques she was getting, not understanding Russian) She was definitely less warm than Kristina Shapran or Anna Tikhomirova who also competed on the show. And this spring even, at YAGP and in ABT's Bayadere, I felt Smirnova had not yet become the kind of "dramatic" ballerina that say Diana Vishneva or Alessandra Ferri are. I put this down to both her innate personality as well as being young and not yet knowing how to fully interpret (as opposed to just "dance") a role. Last night I felt I saw a new, more mature ballerina who was able to act as well as dance. I was especially surprised at how much I liked her Odile (I would have thought it would be weaker than her Odette but I think it was stronger). I didn't feel I was seeing mannerisms ( for that, just watch Zakharova) nor false emoting. I also didn't pick up any technical faults, though she may gradually be losing some classical epaulement (I thought that TV show was trying to encourage her to be less "classical"). Last night I think I saw a ballerina who is developing artistry and feels comfortable enough with her partner to be freer and go beyond simply dancing steps into immersing yourself in a role. It does make me sad to hear that Muscovites initially scorned her. Since the Mariinsky is such a graveyard for Vaganova grads, I am sure the Bolshoi will continue to get both Mariinsky refugees like Zakharova, Lobukhin and Obraztsova as well as Vaganova grads like Zhiganshina. (And BTW who could be colder than the icy Bolshoi prima, Zakharova?) I hope they are welcomed and well used in the Bolshoi.

Oops, danc1988, just realized you said Sunday, not Saturday. Yes, do try to go.

I forgot to add that the entire audience agreed with this sentiment. Unlike other nights, tonight the hall was filled with "bravos" , there was a standing ovation and many curtain calls. Unlike Zakharova, Smirnova and Chudin acted (towards each other and the audience) with graciousness and humility. In any case if the contrast between performances was truly that significant I might make an effort to try to get standing room for Sunday evening's performance. I would try,instead, to see Smirnova and Chudin on Sunday. Chudin is SO much better than Hallberg (who will be dancing Saturday evening).

I forgot to add that the entire audience agreed with this sentiment. Unlike other nights, tonight the hall was filled with "bravos" , there was a standing ovation and many curtain calls. Unlike Zakharova, Smirnova and Chudin acted (towards each other and the audience) with graciousness and humility.

I just came back from tonight's Chudin/Smirnova performance and, having seen on Tuesday (Hallberg, Zakharova) the worst Swan Lake of my life, have now seen the best, despite the Grigorovich production. Let me begin by singing Chudin's praises. He is fantastic, MILES better than David Hallberg was on Tuesday. He has a noble carriage, long legs, a long neck and huge stage presence. His jumps are fantastic, high and many 180 degree splits. His petit batterie are outstanding, his arabesque line long and classical, and his pirouettes & tours absolutely perfect. But more wonderful, he can ACT! Just when I had given up hope that this production had a discernible story, Chudin comes along. With the tilt of his head, his dramatic gestures, the expression on his face, I could actually understand what was going on in this ballet! Then there is the wonderful Smirnova. I have seen her a few times before (Stars of the 21st Century, YAGP, ABT). She was beautiful and technically superb but a bit restrained. Not so tonight. Her Odette was, by turns, frightened and mournful. Her Odile was sparkling, sexy and seductive. Looking through the opera glasses, I saw a ballerina who not only uses her face but her EYES. You can see the sorrow in them when she is Odette; as Odile they sparkle and dance. I have never seen anything like that before. As Ilya said up thread, together, Smirnova and Chudin had unbelievable chemistry. The way she touched her head in sorrow against his chest, as Odette. Her seductive manner with him as Odile. He was very attentive as a partner and in the overhead lifts, made her look as light as a feather. I think these two are the Ferri and Bocca of today. The superb dancing of the principals extended throughout the cast. Artemy Belyakov was gripping and forceful as the Evil Genius (even better than Lantratov). Alexander Smoliyaninov executed the pyrotechnics of the Jester with as much or more virtuosity than igor Tsvirko on Tuesday. Tonight, the brides in the court scenes were better able to imbue their dances with character and ethnic flavor. My favorite was still Tikhomirova (Spanish) with her astounding jump. But Maria Vinogradova (Neopolitan) also impressed me with her soft, pliant ballon. Overall, this was a wondrous Swan Lake, perhaps one for the ages. It was all the more impressive in that the Grigorovich production's flaws did not seem so apparent. I'm just very glad I decided to splurge on this ticket (I bought it as a single, outside the package) and witness this outstanding performance.

When Ratmansky did a Works & Process at the Guggenheim about 2 years ago, he said people had returned to a cultural conservatism of liking all Grigorovich. It certainly seems Filin does his best to accommodate Grigorovich.

Mathilde, I have seen parts of Grigorovich's Spartacus and Swan Lake on YT but never seen an entire ballet live. So yes, I guess I am unfamiliar with his productions.

I have to say I was distinctly unimpressed by tonight's Swan Lake with Zakharova and Hallberg. First, as I noted up thread, this is Grigorovich's Swan Lake and in only a few ways (white and black swan PDD, cygnets, 32 fouettes) does the choreography resemble that of Petipa/Ivanov. Grigorovich's choreography is, IMO, characterized by many cluttered steps, none of which further the story along. Character dances (also different from Petipa's) are done in pointe shoes, not character shoes. The production is also looks very cramped on the Koch stage. Finally, most of the music was conducted at tempi much too fast and didn't allow for any expression. As for the dancing, I purchased this performance as 1 in a block of 3, before casting came out. I am not a fan of Zakharova and find her dancing to be dull, lacking in drama/acting and artistry. Yes, she can do steps and whack her leg up to her ear. But what can she do with these steps, to imbue them with some meaning. Not much, it seems. And I was disappointed that she did only single fouettes as Odile and that they traveled. David Hallberg can also be a cool dancer but the Grigorovich choreography doesn't make any big demands on him acting wise. He is also coming off of a foot injury. I found his dancing fine technically (though not spectacular)but not moving in any way. The 2 standout dancers IMO were Vladislav Lantratov (Rothbart) and Anna Tikhomirova (Spanish Bride). Lantratov has both a big jump and big stage presence. Tikhomirova has a wonderful, buoyant jump remiscent of Osipova and beautiful epaulement. Igor Tsvirko was also good as the Jester. The corps was good but not without problems. There were two falls (one in Act 1, the other in the scene at court). They do not have the precision or elegance of the Mariinsky and the choreography does not make enough use of their unity. So while I would say these were good dancers, I was not astounded in the way I thought I would be. Overall , my basic impression was of being underwhelmed by what I deem to be a terrible production of this beloved ballet.

I chose this program before casting came out and immediately sorry. I am not a fan of Zakharova and find her dancing technically adept but dull as dishwater. She displays no warmth, acting or dramatic abilities. She simply executes steps and, for me, especially in Swan Lake there must be more. At the end the audience applauded warmly but neither she nor David received a standing ovation (and I just came from 8 weeks of ABT where there were so many standing ovations).

I have 2 tickets to the Saturday night (7/19) Swan Lake, First Ring, row B slightly off center. Willing to sell for $125 per ticket.

I wish I had done that. Shock is putting it mildly. This Grigorovich production (which I found HORRID) bears virtually no resemblance to the Petipa/Ivanov choreography that most companies base their Swan Lakes on. Siegfried enters right at the start and begins dancing. I might add that I found almost all this dancing to be a pointless clutter of empty steps that did nothing to further the story or drama. Siegfried dances the PDT (also different from Petipa's), since there is no Benno. Character dances in the court scene are also not Petipa and danced on pointe. There is almost no mime in the production and virtually no acting -a real detriment when you are trying to convey a story.

I heard from friends that attended the gala that Guillem and Le Riche did perform a mats Ek piece but for some reason it wasn't streamed.