YID

Ditto !!!!

What i heard from the ballet (professional) fans at BAM was that Lopatkina surprised them with her deeper acting, warmer portrayal & solid technique that they did not expect from her (i.e. not being a technically weak icy queen with gorgeous limbs - the older perception of hers). I was not as educated about ballet 10 years ago, and didn't see a lot of her then, but what i have been witnessing for the last 5 years in her professional development really impresses me. Some ballerinas don't improve with age, some do. Imho, i'd put Lopatkina is the latter (but one needs to see it live, not from the old memory frames). I am not trying to change your mind, i am sharing what has been impressing me about her, her work style, her training, and her performance results. One example, in the past she was not famous for her turns, but out of ALL casts i saw in Paquita in DC, she executed the best and fastest turns and pirouettes. Topple that with the best spot-on musicality (being on music beats), most powerful stage presence, gorgeous lines and radiating warmth and joy from her dancing. That would be a reason for me to overcome challenges of Juno blizzard and dare coming to DC from NYC. All the best to everyone. PS: added later after reading earlier posts ;-)) and hoping to make people smile - i've become a ballet fan in 2000, so, now it's 15 years, and watching the same show with various casts since 2005 (primarily Bolshoi and Mariinsky on tours in the US, Canada, and visiting them at their home). Though, i don't have an MA in ballet study or its history (yet)

Lopatkina is not a ballerina that says (acts like), "look at me" - it's not her culture nor her. I have seen her dying swan in 2008 at NYC City Center and now at the Kennedy center, and both times she made me cry. it was a very intimate portrayal of dying swan, and i felt almost as if i am trespassing the privacy of a dying creature. Her swan was not fighting for life with falls or swaps of wings but more with her feet and something inside of her body that was refusing but can't help death.

My own 2 quick cents. I was luck as some (very few other) New Yorkers to make it to Kennedy Center on 1/27. Amtrak was late for the 1st act. but my true purpose was to see Ulyana Lopatkina (I will see the Rite of Spring twice on Saturday). I am glad i "gambled" and travelled despite of shut-down subways and cancelled buses and amtrak. It was WORTH IT. Her dying swan is so touching and moving, pure magic, so simple, but so powerful. Made me cry. I was witnessing an intimate death of a live creature. Very emotional (I sat very close in the orchestra) And she was a Huge delight to watch in Paquita, i can't get my eyes off her, not noticing the rest of the dancers. She was regal, confident and jubilant, radiating joy, pleasure of dancing and sharing positive (and perfectly technically executed) excitement of dancing. And she made her fans happy by seeing them at the stage door in her full costume. What a treat, during and after the performance. Please bring her back to the US again!!!

check post 108 from Abatt - it has the complete program. in a nutshell, intermissions are after the white act and after a black act. The court scene preceeds the white act. abatt - Posted 13 January 2015 - 03:20 PM http://www.bam.org/m...gn=WinterSpring Here is a pdf re all the casting for all roles in Swan Lake.

You know what - i have just reread PoisonIvy blog about the Friday Swan Lake with Ulyana Lopatkina, and I would ECHO everything what she wrote. http://poisonivywalloftext.blogspot.com/2015/01/swan-heaven-mariinsky-arrives-in-bam.html The only tiny difference is that I EXPECTED Ulyana to be great (having seen her Swan lake in Saint Petersburg recently, and having seen her in classical ballets (in her home theater) over last several years). Looks like she's only performing better. Though the word perform kinda doesn't suit her, she LIVES ON STAGE in her roles. But also, despite my "expecting" her to be great, she overwhelmed me (and all my friends and collegues).

Amour, (most likely thanks to your tweet), they published a correction under the article. I hope i will post more soon, but just a couple of point about Friday's Swan Lake - Ulyana Lopatkina was beyond magical. Such a swan-queen, the best (imho). I expected her to be great, but even i was swept away by her artistry (grounded in solid technique) and absolute musicality and attention to details. BRAVO. Ivanchenko was better than I expected. His line is great, and he acted more human and passionate than what i remember of him before. But again, the night belonged to Lopatkina. Long artistic life and health to her and other members of Mariinsky.

Should we start a "fight" or a campaign? to restore originally advertised, posted and bought-in casting, which would be more benefitial to dancers(see below) for the Chopin piece? Now they list Tereshkina on 24th - the original date, the date MOST (if not all of us) bought the tickets for under subscription and membership sales and Lopatkina on 25th. Tereshkina listed to lead Swan Lake on 23rd, and then do the In the night- the day after that, and making Lopatkina dance on 25th which leads NO time for Tereshkina to rehearse/refresh in the night or for Lopatkina to rehease Paquita and the swan. Kinda harsh & inconsiderate to principals. But from the monetary/fairness point of view., HOw can i switch all my 11 tickets between the dates? I am going to write to both the Mariinsky and to BAM. Neither it is fair to membeship, or subscription nor to the principal dancers...... I wrote my letter to Ekaterina Ordovskaya at ordovskaya@mariinsky.ru is Mariinsky Public relations person and am writing a similar letter to infor@BAM.org

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Dynamic pricing indeed (for some performances). Just checked the BAM site, and the Mezzanine price group that was $70 for Chopin is now $110, and $45 is now $70. The balcony pricing didn’t change though. Well the mezzanine for Swan Lake on 15-16 and Cinderella on 18th didn’t change

imho (as the person who hasn't done any media interviews), an interviewee can always tell that he/she doesn't want to discuss or emphasis certain topics. And wouldn’t it be subject to litigations and law-suits if a media outlet publishes something (said at interview) to which the interviewee hasn’t granted OK? Just asking

& It's right here. Cover up that nipple, strumpet! OMG, had i been a mother, i would under NO circumstances allow my children to be near a person wearing such an outfit. Moreover, a ballerina (imho) should be a person of a bit of a better refined taste and manners that a typical person. Never fell in love with her as a dancer (her body is too bulky to my taste), but with more (untasteful & politicized) PR done with her name - the less insentive i have to support or be interested in it (but i couldn't help reacting to that (OMG so untasteful) photo)

The press lady of Mariinsky confirmed the added Chopin performance and told that casting is still tbd

With all due respect, isn't she a member of Bolshoi? then shouldn't the continuation of posts belong in there? She didn't join Mariinsky

i just got myself additional tickets and tickets for friends. i didn't check the expensive categories, but the cheapest range has not changed (yet ;-)) Happy winter to you all.

I have to disagree with Amour underestimation of Sarafanov. Granted Vasiliev was much more restrained yesterday (compared to last week, especially “circus-level” Sunday), but I thoroughly DID enjoy all of Sarafanov, Lebedev and some other male dancers (who are lean, slim with virtuoso technic; can jump real high, perfectly vertically, without sticking the “tush” out, landing in 5th, with clean Vaganova style elegance). I actually found Ivan’s appearance in the class concert pretty disadvantageous for him. …. But the love is in the eye of the beholder as they say….. to each his/her own And those chainees of Ivan were the final drop for me (his legs were almost a feet apart – that’s not chainees). And I liked Sarafanov in the Duato’s prelude. I liked a lot of female dancers (more praise to them later).. have to run

To California, i've seen 3 different casts, Friday night, Sat matinee, and Sunday. I LOVED Zaitsev performance: lines, technique, hight of jumps, and MUCH MUCH MORE refined portrayal. Imho, that's HOW it should be danced and how it should look like. Everything of Zaitsev time on stage was BALLET. Bravo! which i can't say of the other Philippe, who, imho, not only needs a good coach, good body conditioner/slimmer-er, but also someone who'd teach good ballet performance manners. As it was not borderline, but (imho) beyond good taste what should be on a ballet stage. The circus (ironically) was just next door. Besides that, i'd echo others' comments that he looked exhausted by 2nd half of each of his (not even variation) but each line of variations. He needed to heavily catch the breath, and walked like a heavy-weight lifter. (I sold one of my tickets with his lead - as, i always "vote" with my dollars) On to praising! As i have not (yet) seen the Bolshoi version, I loved this one, fast moving, fast dancing, fast ending. I loved Vaynonen choreography, nice eloquent delightful dancing, both classical and character dancing. I love the costumes, orchestra, sets (not that much the music though, except for the Basque theme). Bravo to I. Perren, M. Ugrehkelidze & K.Makhvaladze (Teresas) L.Sarafanov, V.Lebedev, A. Yakhnyuk and M.Shemiunov (what a partner!) I couldn't help noticing A. Soboleva in Equality. Both Jeannes were good (but then there were things, imho, to work on - like canbellto noticed - turn-out for fouettes, or not letting the leg hang around mid-calf). But i liked their portrayal. E.Borchenko had an off performance imho, and Cupid, V.Ignat'eva was great on Friday, with mistakes on Sunday. Bravo to Basque dancers (goosebumps!!!), loved all character dancing, such amplitude, such power, and all in unison. The court scenes were delightful as well. Thank you Mikhailovsky.

(With having obtained her mother’s permission, in person) I would like to name the star of the Flames of Paris, Ulyana Ivanova, that cutest 5 year old dancer. Her mother is Marina Rudakova, the Corps de Ballet dancer on tour as well. And Ulyana gathered those flowers after every perfomance, to not let them go to waste. What a great talent and what a great consideration (and taste for beauty (of the flowers). I will wish Ulyana a successful life on and off stage !!!!

I've seen 3 casts (and it's my second exposure to Mikhailovsky's Giselle, after seeing L.Sarafanov with O.Novikova in Mikhailovsky's theater some time ago). I liked Sarafanov and Lebedev a lot (the latter is a new discovery for me and I will definitely watch him; the former – I knew what to expect and he didn’t dissappoint), I liked Borchenko (better on the opening night, yesterday she was not as solid and steady), I was very pleased with Peasant pa-de-deux cleanness (and landings in 5th position after tour jumps (sorry, i'm bad with terms)) The females leads varied but i liked them all. Different to Waelsung, i enjoyed Vorontsova dancing and acting a lot (the tempo in the second act was a bit slower, but then i am not sure if it's due to her or they were just slower), she was a tiny bit hesitant with beginnings of some of her balances. But she danced and acted very well in Act 1, and in Act II danced with a different (ghostly, willowy) plasticity of the body. Her finishing movements and filling in between poses with movement reminded me of Mariinsky style. I found her most musically accurate, and she “flowed” better than other leads in the 2nd act. I liked Soboleva too a lot, and had great chemistry with Lebedev. I was not moved by N.Osipova, I’d agree with Amour’s description of her, it was still too athletic at times, too unpolished at times, sacrificing proper form and alignment for the sake of speed. Imhp, she did not have “ghostliness, weightlessness” in Act II andsome jumps reminded me the effort Olympic athletes put. She still has balloon but I couldn’t help noticing many “tricks” that create an optical illusion of higher jumps (a long skirt helps), and she has to do something about her point shoes (imho, it’s not acceptable, especially as it’s not an occasional thing, but a recurring one). Different to many, I can’t not notice I.Vasiliev’s body type. Aside from that, he’s a great actor, but I couldn’t help asking myself if it was a Basilio or Albreht? The acting was of the same role. I liked the corpse, they kept on dancing better with each performance, and I liked the orchestra (there were a couple of glitches). By the way, the conductor usually tours with the Bolshoi. PS: the moving tree limbs were distracting to me Overall, I am enjoying them

http://www.bam.org/dance/2015/swan-lake Principal casting: Viktoria Tereshkina (Jan 15), Vladimir Shklyarov (Jan 15), Ulyana Lopatkina (Jan 16), Danila Korsuntsev (Jan 16), Alina Somova (Jan 22), Yekaterina Kondaurova (Jan 23) http://www.bam.org/dance/2015/cinderella Principal casting: Diana Vishneva (Jan 17), Yekaterina Kondaurova (Jan 17), Vladimir Shklyarov (Jan 18), Daria Pavlenko (Jan 18) http://www.bam.org/dance/2015/chopin-dances-for-piano Principal casting: Alina Somova (Chopiniana, Without), Vladimir Shklyarov (In the Night), Yekaterina Kondaurova (In the Night), Ulyana Lopatkina (In the Night), Danila Korsuntsev (In the Night) PS: Jan 21st Swan Lake cast is not published yet.... AND let's see how would it hold. I'll be HAPPY if it holds

Waelsung, i hope your prediction is wrong. I heard a different story. But since it's not public nor published, we'd have to wait. I was checking the BAM site several times today to no avail PS: found at some blog site that the announcement date was moved to tomorrow. let's see

I liked both of the DQ & Spartacus (both of which i saw before). With DQ, I attended both evening casts, & would like to applaud both Lantratov and Labukhin, the latter of which showed more elegance, fineness, fluidity and harmony of Vaganova/Mariinsky training despite of the crazy tempos. Both of them have great jumps and very flexible. I love all the characters and folk dances. Bravo to Anna Tikhomirova, Denis Rodkin, Oxana Sharova, Kristina Karaseva Anna Antropova, Maria ZHarkova, Anna Balukova, & Maria Vinogradova. I also like the charming (and impressive) performance of Loparevich and Petukhov (DQ and Sancha). Kitris did not impress me. I have seen M.Aleksandrova in a better form (she has a great stage presence though), and it was my first time seeing K. Kretova. Stiffnness of their backs, non-fluid arms, very angular vector like movements made me miss Mariinsky (I know the styles are different). With Queen of Dryads – Smirnova & Nikulina were very different from each other, but I will watch both again (and in other ballets too). Smirnova’s slimmer frame and softness of dancing was a sharp contrast to Alexandrova. It was my 7-9th Spartacus, previously seen in NYC in ’05 and DC in ’10. I’d say I would like to “can & preserve” the Sunday performance (Volchkov, Zakharova, Lobukhin, Nikulina), which was as great as Friday night, but with more ease and familiarity with the stage, more abandonment from A. Nikulina, it was a very moving ballet. I was happy to see that (high jumping, not-over-bulked, great lines &extensions, highest elevations and ballon and still great acting) great Spartacus’es are still with Bolshoi. I also loved to see Rodkin and Vinogradova on Saturday, they were great, soft, impressive, (however) they did not emote me as much as other cast. Lantratov was good, though I kinda liked Volchkov better (for my impression). Zakharova and Aegina are made for each other. I have not seen her dancing this role before, and what a great body, lines, musicality, image, acting and full control of Crassus, army, & theater. I like the mix of that music, choreography of Spartacus. Bravo to the company for performing it so well, I enjoyed watching the perfect lines of dancers, drawings of dances, absolute synchrony of moves (as if made by rulers). Bravo to the whole company and to the orchestra and its conductor P. Klinichev. PS: I had the same seat for all performances, so the angle did not play into. All the best to everyone and next step is Mikhailovsky

Rodkin was not supposed to be in Act 3. It was a Bolero Dance-different cast vs Espada. The casting within the program was VERY DIFFICULT to figure out and trace who's who.

If anyone will have a reasonably price ticket for Sunday, please contact me

Hello Mathilde K, sorry for getting off topic, looks like Ms. Zozulina may be not with Vaganova Academy any more, if you search for her name http://www.vaganova.ru/search.php it come up only among thesus papers. And the bio within the link is self-written