YID

Can someone (I would join) EDUCATE Alistair Macaulay that it was BURLAKA's & Ratmansky's REVIVAL of PETIPA and not "Alexei Ratmansky's" as he names the article and writes in it. Truth be told, He contributed, yes he did, But it was also BURLAKA. Shame on Mr. New York Times critic. http://www.nytimes.c...lastairmacaulay ANd the truth is - from the Bolshoi's site Хореография Мариуса Петипа Постановка и новая хореография - Алексей Ратманский, Юрий Бурлака http://www.bolshoi.r...rformances/198/ Choreography: Marius Petipa Revival: Alexei Ratmansky, Yuri Burlaka New Choreography: Alexei Ratmansky http://www.bolshoi.r...rformances/198/ The English and Russian version present contributions of Burlaka and Ratmansky slightly differently (Russian states - Revival and new choreography - both names.....)

I checked Mariinsky site, it's true OMG, that will be a Dying audience watching "how should i move my arms and legs". Can someone summon SWAT to arrest Fateev, please

Me too, felt the same. I didn't like his previous installment of King of Dance, and my fears of lost money were confirmed. About the performance. I did find Vasiliev solo very moving and powerful. However, seeing him among other dancers, highlighted his (in my humble point of view) shortcomings, his body type, leg muscle tone and lately lacking extensions. He still has a most powerful jump and spin, but his splits are almost non-present. I could not care less for choreography of the program, however it was nice to see the great bodies of the dancers (I adored David's feet, and eloquent lines of his and Denis'; Marcelo's fluidity).

Enough was said about dissatisfaction about management and politics within Mariinsky, but still IT HURTS that the born & bread talented locals are kept in the corps, and the "Foreigner" is brought into Choryphees.

from the article - "partly due to Visa difficulties" - does not mean "couldn't get a visa to stay". To WORK in Russia you need a different type of visa, obtaining which is pretty cumbersome for an American, and you need THE russian based/registered in Russia/ company to sponsor you. Well, as was speculated, a willing force within a sponsoring Marriinsky company emerged... [& please don't scream about bad Russians ;-)) it's NOT EASY to get a work visa to work in the US ;-)) been there, done that...]

Thank you for sharing. Well, (still a bit confused how moved/altered to late July dates would trigger the no-compete clause, i TOTALLY understand it with the prior dates engagement)... but the irony is that Osipova & Vasiliev move to Mikhailovsky was for more artistic freedom, which in this case resulted in ABT making them "golden slaves" and hurting the rest of the Mikhailovsky troupe. If that's the only or a major cause for scapping the tour, guess, what "hospitality" they deserve from their new host (Mikhailovsky) company? Alas.

How would you know for sure? may be they are updating the page ;-)) Also, for a different post, regarding openning a separate thread for them - imho, let them proove that they deserve it, it's their first visit to NYC or even US

They just posted a change to the tour -different dates (leant from a Russian site) http://davidhkochthe...moreinfoMB.html

http://rus.ruvr.ru/2012/01/19/64137819.html Ok, Natalia, you're right - the russian text confirms that they extneded a 10-year by another 10-year. however, the English text misinterpetes that the russian seasons will be back in the fall. The correct text should have said "the current tour wrapps up/celebrates a 10-year collaboration between the two organizations. The troupe is performing the famous ......"

Natalia, i just watched it twice, i did NOT hear anyting about ANOTHER 10 years after this run. edited - However, http://rus.ruvr.ru/2...9/64137819.html - the russian text confirms that they extneded a 10-year by another 10-year. however, the English text misinterpetes that the russian seasons will be back in the fall. The correct text should have said "the current tour wrapps up/celebrates a 10-year collaboration between the two organizations. The troupe is performing the famous ......"

Official site shows (& I checked them all, they are available) (at 3.37pm on Wednesday) Sat. 1:30pm, a couple of seats at $99, at $69, and 2 seats at $29 Sat 7:30pm a couple of tickets at $99 and at $69. Good luck

I will dare to remind thta Shipulina's casting partially was due to Osipova's cancellation (Osipova's fever or exhostion from running both ABT and Bolshoi's performances at the same time). I wrote that when it was happenning, i respected Shipulina for stepping in.

I went to watch the HD last week in NYC. and (don't forget, it's Burlaka's (kindest) restoration of PETIPA!!!) Omg, What poetry, beauty, diversity & musicality and seeming simplicity of steps and mime. The compositions, ansamble and group work, different steps intertwined with Musical Notes and SO understandable (if you read the story). I don't think I enjoyed choreography and its unison with music since watching Burlaka's restored Petipa's La Corsare. Gosh, I loved it so much, What a joy. I want to forbid all those "new interpretations" of ambitious but not talented choreographers. Shame on them. Petipa, Petipa, Petipa (and Burlaka). Now i want that restoration DVD ;-))

Sorry, let me remind you that what's broadcasted is Mr. Grigorovich interpetation of the Sleeping Beauty. As Natalia mentioned, i wish we could have seen a true Petipa reconstruction (as Burlaka hoped to accomplish). I'll try to see this ballet at Lehman college this Sunday

i kept my mouth shut, but you poked it. Actually it's not her thighs per se, it's her calves, the size & shape (you need to see it close to fully grasp it), that both enables the high(est) jump and "keeps her from tutu roles" (aka Swan Lake, Sleeping beauty) (by some russian clasical gurus) as there are other ballerinas with lither and leaner "classical line".... believe me, i feel for her, as i myself (as most humans) can't change our genes.

I attended the Saturday NYC performance. To start, i should state that i had watched Lopatkina's dying swan from the Guardian article twice a night before and then watched the Bolshoi reopenning a week ago, then the full u-tube report on the forum and again on Saturday morning at Big Cinema. So, the Georgian state ballet and Nina "were against tough competition". I'm glad i had the 3rd tier seat (I was seating front row last time they performed at BAM, which showed some sign of "aging"). The dancer I HAVE to praise is Ana Albutashvili (the non-lead in Bizet Variations and Futa Omote's 1 of 2 female parts). She has fluidity and elongation of her limb movements, great port de bras and musical and flexible movements. She could have just stepped back from Mariinsky stage. I found WIlliam Pratt's dancing very sloppy (1 of 4 dancers in first piece "charms of Mannerism". And i recalled that BAM's version of Dreams about Japan had more precision in movements, feet & arm positions (well, probably Sergey Filin's participation helped), and I couldn't recall the "red snake" dance. Yep, the Georgian fans were happy, and Nina carried the Georgian flag. Very patriotic. The dying swan was Struchkova's variation, with the swan "actively" fighting death and as Natalia described the 180-degree last moment flip. But i couldn't get over Lopatkina's " the most beautiful arms in ballet... the way they move not from the elbow, or even the shoulder, but from deep in her back. That rippling flow has its origins in the steely core of abdominal and lower-back muscles from which, in the fully finished dancer, every impulse radiates outwards". http://www.guardian....s?newsfeed=true I wish I'd seen Nina Ananiashvili in her youth years. Currently, i'd prefer her stepping on stage in a nice dress and just walking on stage. PS: Nina's second swan died facing the "traditional direction".

I found it on the Ardani site - June 19 July 1st 2012 - Giselle, The Sleeping Beauty, and Duende/Prelude/Without Words - yep, Lincoln Center Koch Theater. http://www.ardani.com/tours-mikhailovsky.php Added after reading Natalia's posting - I might just go to Giselle (since i live here), being not a big fan of "modernization" of true Petipa jewels by "contemporarily geniuses" Truly said that they don't bring what you listed

just a correction - it's not the official site, just a name. the official site is http://www.mariinsky.ru/en In russia the ".ru" is a typical domain ending.

Please DO, i've just finished attending my 4 concerts with them (all symphonies and the piano concerto 1) WHAT A BLISS! Thank you Piotr Ilytch Tchaikovsky, thank you Mariinsky Orchestra, thank you Gergiev (4 folded thanks). thank you Daniil Trifonov - piano) and thank you all the corporate sponsors and donors that made my attendance reasonably priced. The music is still in my head.

thank you for posting it. Ah, Evgenia Obraztsova & Andrain Fadeev my UTMOST favorite Juliet & Romeo... She was the darling of Mariinsky's residency in NYC this summer (July 2011).

Belatedly, (recovering from physical strain of attending all performances (I'm not complaining, my heart enjoyed Mariinsky residency in NYC)) As Batscuchan, I saw the Carmen Suite & Symphony in C live for the first time, and didn't check youtube. I was not swept away by Visheneva's Carmen (actually after first two sections, I couldn't help finding her hip swings a bit vulgar - may be it looks Ok from the family circle, but from the orchestra level, I didn't find it sexy or seductive, and I had no goose-bump. Well, I was VERY anxious to see how Lopatkina would tackle the role, and as I was told, "Vishneva used the Cuban interpretation, where Lopatkina, acknowledging the physical differences from Maya Plisetskaya, tried to deliver the SAME steps, same order & sequences, and her different interpretation - of a spoiled, careless women who plays with love & male feelings. And Toreador and unavoidable (sometimes evel) fate (POK in Russian) are parallel symbols to highlight Carmen's actions. She plays with men and love as Toreador tempts the fate and provokes a bull. And as Toreador can get hurt, so Carmen can (despite her logic and will) fall in love. She fights that emerging feeling. She prefers to tempt fate and tempt men, but gets hurt by falling in love. And as Toreador can die from a bull, so can Carmen die from the unavoidable evil fate and playing with love. Sad, that the program did not have any synopsis, nor Mariinsky ballet has it on their web. When I heard the interpretation, I knew what to look in Lopatkina's Carmen. Different to Batscushan, I did not find her cold. And sitting close and scrutinizing her via binoculars, I did see those sudden fluctuations of emotions and feelings radiating through her face "yep, I play with you, i know you like me. OMG, I'm falling in love, Gosh, I don't want it, zip it, I'll play with you.." Watching Ulyana Lopatkina, I kept on thinking "less is more". I have not seen Plisetskaya, but Lopatkina made me cry. And I can go on and on about her lines and artistry. Very pleasantly Korzuntev gave very passionate performances both nights. I adored Lopatkina second movement in Symphony in C. Kondaurova was great also. They are a tiny bit different, where I would describe Kondaurova as a softness princess, Lopatkina has this Royal Regal posture and presence on stage. She doesn't even have to move ;-)) just be there. And of course I much preferred Tereshkina to Somova in the first movement, and I found the whole Symphony in C on Saturday more relaxed and danced with more heart (more passion). And since I'm not NYCB Balanchin expert, I was 300% satisfied with Mariinsky's delivery. PS: I forgot to complement all the demi-soloist (those pairs in respective colors besides the corps), and Bravo to Corps. All soloist, demi-soloist and corp were so synchronized so even in same-lined in movement (only several times Skorik's arabesks were visually too high compared to the rest of the company). And i actually don't mind the colors (some Balanchin experts mentioned they'd prefer all white presentation), but may be if you have only 1 star (1 star pair) in the performance, they you can see them irrespecive of color, with the Mariinsky star showcase - colors helped (no need to squint my eyes). Bravo Mariinsky Ah, so sad that they are gone. Looking forward to their DC trip in January. Envious to those Londoners who would enjoy them for 3 weeks.

I will try to not go too much off topic, unfortunately the writer didn't attend Tuesday evening or Wednesday matinee. THere might have been a different article and definition (which is widely discussed on the Mariinsky thread of this forum discussing the company's residency at the Met in July 2011). Since i attended all performances and seen Somova (dancing in person) through a number of years, i should say that her style became softer in years, and more tamed. But her musical phrasing is almost always off, and occasionally the edginess and "non-vaganova" lines pearsed through in July. She's as cute and pretty as a woman can be - that i give her...

sorry, you got me started, I tried very hard to resrtain myself from watching their feet and concentrating on the ballet instead. Sofia Gumerova's feet were stunning (and all natural), and Lopatkina's & Kondaurova's - almost like going to a Museum and admiring art

I am glad I saw all 3 Anna Kareninas, each performance being so different (&sitting in the same seat & borrowed binoculars helped). I give credit to Diana for pulling it through with a replaced partner and having just 2 rehearsals, and her movement so polished and grand I saw her interpretation as of a suffering woman, lit up by just her encounters with her son, I didn't see love towards Vronsky, he loved her, he pursued her. She surrendered then became scared and remorseful for what had happened. I don't want to pick between Lopatkina and Kondaurova, they both were very passionate but different, one portraying a high society, regal woman (Lopatkina) and Kondaurova moved more willowy, had a softer dancing & younger looking Vronksy (Yermakov). Each of three had slightly different acting in some scenes, adding individual touches, like Lopatkina never pushed Vronsky away when on her death-bed her husband forgave her, she just didn't wave a yes gesture, where Kondaurova & Vishneva waved no, and then when Vronsky left longed for him. The end of act I (love scene) was acted differently. I have to admit that Lopatkina made me cry in her scene when she sneaks in to see her son and then her anguish after that. I liked Smekalov greatly with Lopatkina, but I really adored Alexei Yermakov dancing; he moved more in Vaganova style, so clean so fluid and soft and still very passionate in Act II. With exception that I don't pick between Lopatkina & Kondaurova, I would agree with Batsuchan in everything else. Last comment, I found projecting on the walls very innovative, saving time on moving decorations and compacting the dancing, but I heard from people from sides and above that they don't see it. To wrap up - GREAT company, great ballet-dancers. I didn't like Ratmansky choreography and Shedrin score, I'd prefer Eiffman's version.

But we do have music conservatories and fine art institutes, which are not state subsidized. I suppose that we just don't value classical ballet the way the Russians and the French do. We are, sadly, a very small niche. Its not all about state funding. This discussion may turn into an off-topic, children/arts/sports/ballet upbringing and training in Russia vs US. Having grown up in Russia and going through rythmic gymnastics (sorry not ballet) childhood, and seeing how training happens here, the US kids would not allow for "Russian" style of coaching and drilling (with not hours but long days of drilling, stretching, working, and hearing what may be considered not politically correct by the US standards (with all the US positive reinforcement and affirmative action, where noone left behind)..... Don't misinterprete me, don't take it as Russian coaching being harsh or bad, it's just russian kids take adults teaching much differently than the typical kids in America (with all these US freedoms ;-))