WindFlyer

...She told me that this always occurs under Bubelnikov when he conducts Swan Lake at home, and no other staff conductor in the Maryinsky.

...Vishneva and Fadeev partner often, so maybe he was having an off night?

...I liked Vishneva's Odile better than her Odette - she brought more verve, energy and life to the role - I felt something was missing with Odette, didn't quite feel the chemistry between she and Andeev?

...and you're not the only one not seeing much chemistry between Vishneva and Fadeev (I take it that's who you mean by 'Andeev' ).

Thank you, Paquita for the detailed review. I'm glad you enjoyed the performance.

...I did not recognize the music used for the beginning of act IV. Do many other productions use it?

For the 1895 Petipa setting, a fair amount of the original partiture was re-ordered, some music was cut, and some was added. Tchaikovsky was already dead, so the music that was added, while composed by Tchaikovsky, was orchestrated by Riccardo Drigo (an in-house composer at the Mariinksy Theatre at the time). The music came from a set of 18 Piano Pieces published as op. 72. The following three pieces were added: No. 11 (Valse bluette), the corps piece inserted early into Act IV; No. 15 (Un poco di Chopin), inserted toward the end of Act IV between the beginning and closing of the Scene finale of the original partiture; and No. 12 (L'Espiègle), inserted into the Black Swan pdd before the Coda.

I do not recall having ever heard these 'Drigo' pieces performed by companies other than the Mariinsky–though they may have.

Everyone was surprised to hear that Igor Zelensky would be dancing the prince instead of Danila Korsuntsev, since he apparently injured himself during practice. At times his dancing had the finesse of an experienced principal, which contrasted with Tereshkina's attack. His jumps did not have a lot of height or extension, but his finishes were cleanly placed and well timed.

... I'm not sure what happened to Andrian Fadyeev, though he did dance Romeo the last night before they started Swan Lake.

[Newbie posting; I'll confess.]

Thank you for your post.

Swan Lake - Sunday Afternoon

I meant to post this as soon as I returned from SoCal, but a rather sad personal situation got in the way...

Let me start with a rant... This was one of the worst audiences I've had the displeasure of seeing a performance with in a very long time... Crying babies, chirping cell phones, murmur of conversation well into the first few minutes after every intermission, untimely applause—when Vishneva lined for the start of the fouettés, the audience started clapping before a note sounded :rolleyes:... It came very close to ruining a good afternoon of ballet for me.

Fortunately, the 'A' company showed up to perform and save the afternoon... The music started, the curtain went up to reveal the set, and I felt that comfortable feeling of another Mariinsky Swan Lake—not one that is perfect, not one I like unquestionably, but one that is always performed with a fervor approaching that of national pride. My previous outing had featured the pairing of Lopatkina and Zelensky and that had been immensely satisfying. I had loved the lyricisim of her Odette and the fine rapport she had with Zelensky's Sigfried... Her Odile, however had something missing. Anyway, I was excited by the prospect of seeing what Vishneva would bring to the role, and whether she and Fadeev could conjure up some chemistry...

Fadeev was out for some reason and I got to see Kolb who was adequate in every respect—I don't think the Mariinsky's Sigfried gives the dancers too much to work with. Most importantly, he and Vishneva engaged each other very well, giving me a nearly unforgettable White Swan Pas de Deux...

...and here, I think the credit goes to Vishneva. As others mentioned, Visheva's approach to the role is more dramatic in character giving that scene a different complexion, a 'human' dimension, perhaps—very much in the moment and injecting nuances as if on the fly. Her Odile was wicked but not quite seductive enough for my absolute liking...and at this point (and into the final act) I noticed the technical sharpness to drop off somewhat.

Rothbarth was danced well by Chashchegorov, though I missed the extra gusto Kuznetsov usually throws into the role.

OK, so we may have our favourites in the principal roles, but invariably an undisputed star in any Mariinsky Swan Lake is the corps. They were in near-perfect form this afternoon, beautifully framing the lake scenes

I also give uniform good marks to the various other dancers, the orchestra (mostly), and the orchestra soloists, who rendered those breathtaking musical passages with tenderness and rarely heard (in a ballet orchestra) technical excellence.

So, dosvidanya, Mariinsky Ballet until the next time I'm in St. Petersburg.

It sounds like it must be Lavrovsky's, which has very little "dancing" in it and is mostly pantomime and lifts and stunning crowd scenes. The Kirov did this version on tour back in hte late 80s, and almost everybody complained about the lack of dancing --

Sarafanov would be a fantastic Mercutio -- he's got the speed, the aggressive legs, the sexy feet.

Thurs., Oct. 19: Romeo and Juliet redux. MUCH BETTER this time.

...In Act I Vishneva was not childish enough, and in Act III she was a mature woman going through a difficult time. Obraztsova was very young all the way through. She's a beautiful woman with a more juvenile face than Vishneva, and she maintained this youthfulness throughout the ballet. Fadeev's Romeo was enthralled by her and the chemistry was there. That spooky lift at Juliet's bier was less spooky; he held her horizontally and faced us in anguish. Great stuff.

I would have loved to have seen the Obraztsova/Fadeev chemistry... and the lift

Yes you're right - my mistake!! Kuznetsov's Tybalt is who I meant, missed it by one line on accident!!

...yes, Ilya has rarely disappointed me in a couple dozen outings or so... maybe I'll get to see him as Rothbarth again on Sunday.

...though the performers themselves are still highly skilled in their own right, the absence of the director has let the production fly away. The actors have all developed their own interpretations of the roles, and those interpretations don't ever quite meet - thus the dramatic unity is virtually gone.

...The Kirov has some of the world's best trained dancers, and you could certainly see some of that last night, but I think this production needs a director...

...Islom Baymuradov, as Benvolio, was really into his role: he put forth so much melodramatic effort that he looked like a cartoon with his bright red hair and brightly colored costume, especially in comparison to more subdued acting from everyone else.

Darn, I'm bummed that I missed you, Giannina and WindFlyer.

I think the renovations have been dropped.

Going to tonight's performance (Vishneva), as well as definitely going to Friday (Lopatikina), Saturday afternoon (Tereshkina) and Sunday afternoon (Vishneva). And maybe more R&J's if I end up liking today's!

But I will be back in SoCal for Sunday's performance, so perhaps we'll get to meet then.

If any other BTers are planning on being there, please feel free to PM me so we can figure out a way to meet.

Had the pleasure of meeting Giannina at intermission

...and back to the performance, I agree with her general impressions. I had never seen this version of this Ballet, and I was left with the distinctive impression that this choreography does not give dancers much to sink their teeth into.

Sarafanov (as Mercutio) certainly stole the show in Acts I and II; and Kuznetsov was much to my liking as he played a caddish and mean Tybalt with incredible gusto (I've seen him a couple dozen times over the past handful of years, and except for one off night in St. Petersburg, he has always impressed me by his dramatic qualities).

I had never seen Vishneva and Fadeev as partners, and I have to say, there seemed to be very little chemistry between them until the third act... (I'll be interested to read the impressions other viewers have from the other pairings).

...also, I'd dare say that both principals seemed to dance their best when *not* dancing together... (I hope this changes for Sunday, when I get the same pairing for Swan Lake ). Vishneva really came into her own in the final act, displaying much of the dramatic talent that has given me a handful of unforgettable evenings of dance.

Like Giannina, I was astounded by the lifts of a dead Juliet in the final scene—walking up steps too!

As usual for the Mariinsky, the orchestra was in top form, rendering the 'cinematic' Prokofiev score with great flash and beautiful glow... and on the solo passages, the violin, cello and oboe soloists shone!

...more to come from me after Sunday.

...If interested PM me...

I've tried to PM you but it seems unavailable to me :confused:

...oops, nevermind. Perhaps I needed to hit 10 posts before PMing...

Any word on venue?

IIRC, the Mariinsky Theatre was to close for renovations starting 1 Jan 2007

... I'll be at the Kirov performances in Orange County Tues., Thurs., Fri., and Sat. nights...

I'll PM you about meeting up.

I have seen Pavlenko’s Swan Lake & it is the most moving I’ve seen since Makarova’s. Her interpretation is very traditional. She is small, with classical proportions and a very fluid quality of movement...

...too bad she won't be dancing in O.C.

...I was able to get a ticket for Saturday eve. with Somova (I am just too curious about all the hubbub!) and with Vishniva on Sunday matinee...

I've seen Lopatkina in Swan Lake, Sleeping Beauty, Bayadierka (to name just three roles), and she has been spectacular (except for one off-night of Sleeping Beauty that she was upstaged by Vishneva).

This go around I'll get to see Vishneva only... at the O.C. in both Romeo & Juliet & Swan Lake.

Look forward to the performances and will post my comments.

Ardani Artists has listed provisional casting for the entire North American tour on their website...

I can now book my trip to SoCal knowing who I'm likely to see

Danilova used to tell her students to "throw away their technique" when they got onstage. I wonder if Tan ever had a teacher to tell her that...

Performances since then have taken place at the New Stage, the smaller theater on the side of the Bolshoi.

I agree with everyone who says the company is looking better of late.

...that’s what I thought right up until the very instant on Saturday afternoon when Shipulina took the stage in the same role. Wow. It may have been the most complete performance I’ve seen from a Bolshoi dancer yet. Allash was very, very good - evil & scheming. But Shipulina just oozed sex. She was imperious and scheming - in some ways she really overpowered her Crassus - she seemed to be the protagonist, always pushing him and spurring him on. Despite some of the extremely inventive lifts for Spartacus & Phrygia, Aegina really has the best dancing, or at least the most bravura dancing. Shipulia managed to invest those 180 degree splits and jetes, and those ear scraping devlopees with a creaminess and lasciviousness that was just amazing. Nina Kaptsova danced Phrygia at the matinee. She was lovely, but she is a small woman, and her Phrygia was danced on a much smaller scale than Antonicheva’s.

I was hoping to see Shipulina while in Moscow in May, but alas, she was not in any of the casts while I was there (though I still hoped for a last-minute Mirtha substitution).