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If they keep it as switched on Tuesday - i will be trying to switch my Friday night for Sat. matinee. i hope they still do it. Nysusan, i'll see you there ;-)) and others

Nysusan, i've heard you can exchange the ticket for the same company (for a nominal fee/$5). I may try to explore it if any of my tickets co-inside with Somova (looking forward to Lopatkina)

Would your friends consider the Kennedy Center in DC in February 8-13? Mariinsky'll be showing their Giselle, and they might bring Vishneva for that. (I personally prefer Mariinsky's Giselle to ABT's). And they'd have a dress rehearsal right before the openning night - just $12. Vishneva's Gisella is one of my favorite (among Lopatkina's, Pavlenko's, Novikova's). The posters were right about its being different. Her mad sciene is more furious as well.

from official media enjoy http://www.guardian.co.uk/stage/2010/jul/19/bolshoi-ballet-behind-the-scenes http://www.guardian.co.uk/stage/gallery/2010/jul/20/backstage-bolshoi-ballet?intcmp=239#/?picture=365029311&index=0

I've seen Part on Wdn and Vishneva yesterday (missed first act - shame). I'd agree with nysusan, and would sign under Canbelto's comment about Corps and overall ballet impression. After getting used to the Marriinsky version, i was missing the number and quality of Kirov shades, as well as Nikiya's dances (in the palace, before her meeting with Gamzati and "the Joy dance"). (I would suggest ABT corp Iyengar yoga chest openning classes to learn port-de-bra). With Idol, i found Salsten's dancing much more articulate & precise compared to Lopes. But i can't help commenting on the music (and found explanation in http://www.nytimes.com/2010/05/20/arts/dance/20bayadere.html or http://ballettalk.invisionzone.com/index.p...mp;#entry268724 post 6 "music, by the Austrian composer Ludwig Minkus. It doesn’t help that what we hear today is John Lanchbery’s 1980 embellished edition" Ah, that's the edition, which caused it probably. For me personally, It sounded WAY too slow in entrance of shades and some parts and it was lacking the depth and full-filled sensiveness of what i'm used to hear (with Mariinsky or on DVDs) as if they just let off half of the orchestra.

I would agree with most of Ceeszi. Just a couple more of my personal comments. I've been adoring Evgenia Obraztsova dancing since i saw her in Romeo & Juliet in DC in Jan 2007. For me she was the highlight of the Galas and an epitome of Mariinsky's style & grace. Her La Sylphide, her Sentimental Walse, and even the modern piece of & with Yuri Smekalove (much more relaxed, more abandonment, more passion on Saturday than on Friday). Bravo to Emmanuel Thibault for great footwork & partnership. I enjoyed the ballroom dancers and Moiseyev dancers, and i wish the lyrics of the russian lullaby were translated, since the dance and moves and that hysterical laugh were reflecting the lyrics (below). I'm very fond of Dariya Khokholova. And I have to add that Polina Semenova hasn't moved me a single time (after seeing her at numerous YAPG galas & performances), even watching her Manon pa de deux, I kept on recalling Tereshkina & Gomez of last year. She's the gorgeous body & technique, but where's her "DUSHA" soul & heart in dancing? And I am fond of Mariinsky's version of Sleeping beauty pas de deux (after refresh-pre-view of Kolpakova DVD & 5 Mariinsky's SB's in DC) much more than Royal Ballet's, it just looked good. Russian Lullaby http://www.magichild.ru/St/musicbaby.htm The rain's been pouring from early evening, soaking soil, hammering grass; A brother is putting his sister asleep, and teaches her; "Grow up faster, become smarter and prettier with a fairer face' & longer braid & cheerful demeanor/character; When you grow up, they'll marry you off to a distant strange village and to far away"; The rain's been pouring from early evening, soaking soil; The brother's lullabying to his sister - End I'd have a hysterical laugh after such a song as well ;-))

I attended both Friday and Saturday performances. Friday - Passion La Carmen - choreography was a bit too contemporary for me, and the interpretation of the story was unusual. But I loved the dancers, especially, Vladimir Dorokhin (who resembles Baryshnikov face in close proximity ;-)) such a passionate and fluid, plastic dancer and great partner. I like the Saturday program much better. And i'd agree with this article http://www.nytimes.com/2010/03/22/arts/dance/22pete.html I wish it was better advertised and received more publicity. The only scorn i have is for Usher's letting people in in the middle of dances, during the performances, slamming doors and chatting among each other I hope to see them again in NYC and USA

i bought a ticket to a friend yesterday at 7pm, and they had partial views left

Marc, somone hawked your site, both this link and the link from my favorites goes to some dating site ;-((

I saw her name on both here's the links to the programs (subject to change) http://www.yagp.org/gala/YAGP_Gala_%202010...010_program.pdf http://www.yagp.org/vladimir_vasiliev_site...010_program.pdf

not to go off-topic too much that's what i posted about Obraztova in Italy http://ballettalk.invisionzone.com/index.p...mp;#entry264556

To not start a new thread Here's the link to an Italian article about Evgenia's dancing in Italy in 2010, and the google translation of its parts http://www.voceditalia.it/articolo.asp?id=...%20di%20Giselle Evgenia Obraztsova, coming from the company of the Mariinsky Theater, has effectively played the part of the unfortunate protagonist. Her excellent technique has enabled her to overcome all academic obstacles, has beautiful feet and arms, and the lightness of her movements is enchanting. The splendid interpretation of the character was compelling, the Obraztsova Giselle is a naive, sweet and tender in his earthly life and, at the unveiling of the deception, pain and madness that arise are interpreted with great effectiveness. Her performance highlights the pathetic aspect of the character rather than his tragic and, in the supernatural in Act II, remains a line of continuity love beyond death and deception immediately.

and where is a promised 10-year agreement signed with Bolshoi? Wasit just a 2 year deal? I hope they would ammend and invite Bolshoi as well.

I hope you have a lot of eyes, MakarovaFan! i've just learnt that Evgeniya Obraztsova indeed is going to dance at the GALA, i am so thrilled. G-d protect Ms. Obraztsova !!!!

You mean as if she has a sideline in sending emails inviting people to buy worthless share certificates? a) Consider them "not-impressive" (compared to other dancers) (I am trying to be polite). And please don't interprete that i don't like her. She's very artistic & reliable (Iron Lady comes to mind). I like them all. Just not everyone has cosmic-extensions b) are you trying to be humorous? I meant "hard, cold, calculative character planning to lure, suduce, & use Crassus, & later plotting the revange on rebells" Any other linguistical questions? (I am not a native speaker)

Hello, I managed to see Tuesday opening, then Saturday matinee & evening (i.e. all three casts). I agree with Nysusan, abatt & cinammonswirl. 1. Bravo to energy and much higher level of performance of the whole ballet troupe (comparing to NYC's 2005). Truly marvel of execution, stunning energy, precision and coordinated synchronization. 2. I would like to compare and rank various soloist (to my taste & IMHO) with a disclaimer that I was sick on the opening night: A) The best Phrigia was Marianna Ryzhkina. I can only compare her to Antonicheva of 2005's NYC run. Only they made me cry, only they were genuine to me (Marianna this time, and Anna Antonicheva in 2005). Both Anna Nikulina & Nina Kaptsova were technically perfect and romantic, but I saw them acting, when Marianna LIVED on stage. And I'd agree with Nysusan that Nina Kaptsova was a bit stiff to me. B) Aegina. I can't decide between Ekaterina Krysanova and Maria Aleksandrova, who'd be my favorite. I'd place Ekaterina Krysanova, since her body is more fluid and softer (and she's much slimmer), she was very feminine, sexy and alluring. When Maria Aleksandrova (and Allash) look much heavier (I may be getting spoiled by Mariinsky's slimness). Aleksandrova danced very reliably and steady (like a locomotive on the rails), her jumps were high in the air, but her extensions are border-line and look stiff. Baranov's lifts worried me, she looked too heavy for him (or anyone). BUT, she acted as a MEAN, VICIOUS scammer. Much meaner, like a madam. Krysanova was just lighter & sexier. And Maria Allash just didn't allure neither moved me. C) Crassus - I'd rank them as Yury Baranov and then Alexander Volchkov with Andrey Merkuriev. Baranov just acted a bit meaner, more vicious and more genuine (to me). Andrey Merkuriev just showed a different school, when Baranov & Volchkov were more angular, Merkuriev was more elegant and fluid in movements (what is best - I don't know, it's just different). D) Spartacus - can I not rank them. They were different (I'd let Grigorovich rank them ;-)) Vasiliev showed most of charisma. But Pavel Dmitrichenko & Ruben Muradyan are much taller and have better lines & same or better extensions. I'd describe Vasiliev as a (Pirate, rebel) fierce fighter, where Dmitrichenko danced as more aristocratic fierce fighter. And dark hair & beards suit closer the Hollywood type of Spartacus. PS: [added later} - Spartacus lifts. Dmitrichenko's lifts were steadier & longer & Nikulina raised the second leg much straigher. Then Vasiliev, then Muradyan. I've also heard that Muradyan & Merkuriev didn't dance those roles a lot. (end) That's why I like seeing different casts. About casting changes, a dancer told me that since Muradyan injured/or hurt himself, he only danced once, that caused the shifts of casts. He also praised Ryzhkina "old school" and experience (I'd agree). It was the best (out of all 3) performance of Phrygia, tender, loving, caring, passionate, soft, and devastated in last act. She didn't act, she lived. Thank you Bolshoi for a wonderful experience. PSPS: this was posted at a rusian forum - glimses of Tuesday openning are on youtube under "HD 1080P End Act 1 & 2 & 3 Bolshoi Ballet Spartacus Vasiliev Kaptsova Volchkov Allash Grigorovich". No sound, but great viewing. And wow, they look much SLIMER and taller from grand tier or tier one than from ochestra. Enjoy

enjoy - casting and program notes http://www.ocpac.org/home/Media/program%20...Q%20Program.pdf

Hello all, i will write more once i am back in NYC, and hopefully over my cold. BUT some quick notes. I had managed to see ALL 5 casting sets. And to Mariinskyfan - Did you skip watching act 2? Matvienko was constantly falling off turns and balancies (once totally jamming into Zuzin). I found it to be her fall, but the older experts told me that it takes "two to tango". After Tereshkina, Vishneva, Somova (yes Terehova IMPROVED her a lot), i would place Kolegova with Matvienko (listed in order of my fondness). Matvienko style of hyperextensions reminded me Somova (pre-Terehova), and as Somova - some steps were off music. Noise of point shoes- only one of perrormances i watched from Tier 1 and DID notice a much LOUDER points, i guess it's the sound resonating in the hall. more later - bravo to Tereshkina & Shklyarov - they reminded me what ballet & love should be. PS; Terehkina and Vishneva did raise their (2nd) hand slowly in balances between suitors in Act 1.

New Performance added & Casting changes - Matvienko only once, & more SOMOVA Cancelled one - Wed., Feb. 10 at 7:30 p.m. Aurora: Alina Somova Prince Desire: Evgeny Ivanchenko Lilac Fairy: Anastasia Kolegova SAME -Thu., Feb. 11 & Sat., Feb. 13 at 7:30 p.m. Aurora: Viktoria Tereshkina Prince Desire: Vladimir Shklyarov Lilac Fairy: Ekaterina Kondaurova Somova instead of Matvienko -Fri., Feb. 12 at 7:30 p.m. Aurora: Alina Somova Prince Desire: Evgeny Ivanchenko Lilac Fairy: Oksana Skoryk SAME - Sat., Feb. 13 at 1:30 p.m. Aurora: Anastasia Kolegova Prince Desire: Anton Korsakov Lilac Fairy: Alexandra Iosifidi Same - Sun., Feb. 14 at 1:30 p.m. Aurora: Anastasia Matvienko Prince Desire: Maksim Zyuzin Lilac Fairy: Oksana Skoryk New One - Sun., Feb. 14 at 7:30 p.m. Aurora: Alina Somova Prince Desire: Evgeny Ivanchenko Lilac Fairy: Oksana Skoryk

I'd say compared to those 3 recordings i've seen last month - Zuzin was VERY good - to my taste. (and complain about Orchestra ;-))

oh mighty G-d, please keep Tereshkina/Shklyarov on Saturday, PLEASE

I would say it's not off-topic. Music is part of the ballet. And when i watched DVDw, i was stunned how well the steps and moves were orchestrated to the music, every foot step, every hand wave were to a music note, and some moves of Carabosse in Prelude, as if the music was speaking (in russian ;-) (as if some particular lyrics was singing out of it). So, it was frustrating to watch how dancers had to space out there steps to accept a SLOW tempo (comparing to DVDs). I initially blamed the Kennedy orchestra, but the dancers confirmed it's the unqualified conductor

Thank you cinnamonswirl for your review (and thanks g-d that I managed to make it in and out of DC - writing from office now) To prepare myself for the performance, I watched DVDs of Sleeping beauty (1-recorded in 1983 with Kolpakova, Kunakova & Berezhnoi; and 2-1989 Lezhina, Mahalina & Ruzimatov). And happened to watch Royal's SB with Cojocaru on TV. So, I was prepared. I would agree with most (if not all) of cinnamonswirl's post. With tiny (IMHO) notes: 1) Should I dare correcting that it was Maksim Zuzin as a Bluebird (not Anton Korsakov), and different to a program insert, Diamond was danced by Tatyana Tkachenko. 2) I hated the cuts from the ballet, but overall, I like this version of SB (and prefer "this really is a regrettable production. The costumes look like the Pilgrims on the Mayflower" to what ABT is doing with their flashy (BUT TOO heavy for dancing, opera) costumes and (to-my-taste) not stellar dancing and staging. But to each his/her own. I don't want fluorescent colors in a classical ballet, there's MOMA for that (to my taste). 3) I was pleased with Kondaurova's dancing, I'd compare her to Kunakova. But I would FIRE the conductor!!! (I felt it, and then dancers I talked with confirmed it) most variations were TOO slow, much slower tempo than at the dress rehearsal (or DVDs). And since it was unexpected, one could feel and see that dancers were waiting for the music. And then one dancer told me that Mr. Repnikov is not a conductor by training and it's his first time - alas. I bet with the proper tempo it would have looked much better. My other comments - Bravo to Yana Selina - the BEST white cat, I've seen so far. Bravo to Vladimir Shklyarov. I had goose bumps from Diana's dancing in Act 1. However, later, I felt that she never woke up from her sleep, and remained "a frozen princess", showing no love to her Prince (she ws more passionate to her bride-grooms than to her Prince), and he tried SO HARD (technically she was superb, what balances). I also enjoyed watching Anna Lavrinenko (fairy in Act 3) Well, with dislike of the conductor and some minor musical flaws (sorry I've listened to the ballet at least 4 times in last 3 weeks) and tempo being too slow at times that dancers had to scramble to adjust to it, and not appreciating Diana's no-love towards her prince (technically she was superb), I enjoyed this SB. I am glad they made it to DC. Will go again (Sat & Sund - it will be fun to compare). Best to all.

No. I refuse to believe it. People that age look either very "done" (a la Joan Rivers) or 20 years older than Mme. K does. Happy birthday. I just finished watching 1972-3 recording of Sleeping Beauty with Kolpakova, and today searched to figure out how young she was - WOW- she was 49 dancing Aurora. I am stunned. Yep, she didn't dance or look as a 20-year, but not 50.... still impressed. Bravo...