ngitanjali

**sigh** I wish that this would have been filmed and released on DVD so I could see it! Nina was one of the first ballerinas I ever saw, when I was a little 6 year old from Nebraska.

<3

Marc, read the review and my comment again. The point is the length. As far as I am concerned, the ballet -- as presented in the Kennedy Center -- was not long enough. Perhaps 3 hrs is enough for Americans? We should be grateful and shut up? Phooey! Those of us who truly love classical ballet AND have traveled the globe to see these productions in full lament the fact that the Kennedy Center likes to "lighten" major classical ballets. It is a shame that the reviewer does not acknowledge the fact that the ballet was severely cut and, in fact, intimates that the ballet may be long by underscoring "3 hours!"

I wonder what will be cut from the upcoming Mariinsky Sleeping Beauty next January? Something is always cut for these Kennedy Center tours. I do not appreciate our local audience being treated like restless bumpkins who somehow may not be able to handle more than 3 hours at the ballet. It's an underlying patina of disrespect, IMO. We deserve to see these ballets in full. And we deserve more than three principals during the course of one week, with one of them appearing only once.

But we should be grateful and shut up.

Especially for those of us who have to travel to see such a performance--I would happily sit in any theater all day and all night if it meant I could get my fill of world class ballet, and I know that there are many that feel the same way. Coming from a town where the nearest million+ pop. city is 3+ hours away, I would give an arm and a leg to see such productions. Thank you EVERYONE , for providing detailed reports, anecdotes, opinions, discussions--I feel as though I am there!

My one question about Corsaire (and maybe even Bayadere and SB) is about the cutting. When the ballets are cut, are the transitions from the scenes still seamless, or is there a bit of a jarring disconnect? I'd imagine that going from A-->B-->C, and then losing B would be quite significant, even if someone had no knowledge of the cuts.

Let's just count our blessings that she isn't Kitri. But, with the leads, and Big Red, I think there are quite a few things that cancel out Alina Somova

Thanks for posting this, having seen Osmolkina dance two Swan Lakes in London recently (only her second and third attempts at the role), I'd say she's on course to be the greatest interpreter of this role for decades.

Herod Atticus is a dream venue and Greece the star summer holiday destination of Europe, I'm already thinking two nights in Athens then down to Piraeus for a ship to one of the islands. Should I book or will the Kirov throw a casting spanner into the works? Bit of a dilemma.

You know, I love Osmolkina--but (move this to another thread if need be!), what makes her the "greatest" (or on track)???

She's dancing in Heaven right now, I'm sure of it.

The Bolshoi is fortunate in having on its roster a number of lovely ballerinas of whom Osipova is one - and certainly she is remarkably talented, though still very young and still developing, as are many of the others.

But with regard to Esmeralda, it's interesting to remember Kschessinska's own recollections of the time when she asked for the role. This incident took place when her relationship with the Tsarevitch was well established and before his engagement, so she was certainly not without influence but nonetheless accepted the decision.

"I was very keen to dance the ballet Esmeralda in which Virginia Zucchi had surpassed herself, so I went and asked this favour of Marius Petipa, the famous and all-powerful maitre-de-ballet. .................. I told him that I should like to dance Esmeralda. He listened carefully and asked me point-blank in his jargon, "You love?"

Confused I answered that I was indeed in love, that I did love.

Whereupon he continued, "You suffer?"

I thought it a strange question and immediately replied, "Certainly not!"

He then explained to me - a fact that I was to remember later - that only artists who had known the sufferings of love could understand and interpret the role of Esmeralda."

What a fascinating anecdote. I'm actually not that familiar with Esmerelda (the whole ballet, I know the variation by heart)....is there a nice source that I can look it up? Thanks in advance!

As per the debate about Osipova...while I don't love extreme extensions....I'd rather take her than a certain ballerina at a certain theater in St. Petersburg, who seems to think that ballet needs to be devoid of art. The impression I do get from Osipova is sincerity (lacking in some other ballerinas), and a pure respect for the theater and the traditions.

That being said, I would love to see Gracheva in the role--she fascinates me, since clips of her are so rare. What about Rhyzinka? (Marianna, I believe?) Lunkina? Consider ourselves lucky that the Bolshoi has an army of amazingly talented women--of all ages and styles, and is willing to use them all.

Just my $0.02

To be REALLY honest, I wouldn't even call it wimpiness--just normal human emotion, which is a good thing and I'm glad people have it :)

R&J is so...raw, compared to the stylized Swan Lake, Bayadere etc....that that death scene does make me shiver.

This is for the ballet teachers out there (and may possible spark a topic in the BalletTalk for Dancers forum), but in your own classes, do many of you integrate a bit of ballet history while teaching? I remember in my weekly Pre-pointe class, my teacher would tell us about particular famous dancers/musicians/choreographers such as Pavlova, Nijinksy, Nureyev, Balanchine/Robbins, The Ballet Russes, Diaghliev, Petipa, the Mariinsky, Bolshoi, Paris, the history of Ballet here...... That was my earliest exposure and led to reading about the subject in depth. She never spent more than 10 or so minutes per class-but it certainly was time well spent.

She had clever ways of integrating it too--for example, when we would do particular combinations, that would start a story about "Pavlova who danced in Petipa's XXXXXXX did such and such a pose. This combination is very famous in Giselle......" and so on. A few weeks later, she would then poll us and see how much we remembered. Very refreshing

Do any of the teachers on this forum do something like that? How do you make sure that your students are dancing while knowing a bit of what they're doing?

Maybe I'm missing something here, but I'm a little confused. Does this mean that that there will be no more NEW productions of reconstructions created, while still dancing the ones that have been introduced (eg 1890 Beauty), or does this mean that the reconstructions that exist will be scrapped?

Also, I think it's interesting that the Bolshoi, with the more 'modern' outlook provided by Ratmansky, is the company going back in time. Funny how things change, huh?

I also didn't know that the Mariinsky is trying to lure Irina Kolpakova back to Russia--what role do you see for her within the company?

Thanks!

Quote from the interview, linked above: "Fateev is not, to my deep regret, a fan of the reconstructions of 19th-century period performance. "Their time has gone," he says firmly."

If we have to go with this quote then the existing new/old ballets will no longer be performed.

Quote from the interview: "His approach appears to be accommodating but not lax, given that he wants (supported strongly by Gergiev) to lure the iconic Kirov classicist Irina Kolpakova back as coach from America to re-establish shapes and lines."

In any case they won't lure her back in order to reconstruct 19th century ballets....

Thanks for the clarification, however, I do wish that these beautiful ballets would be released on DVD, from what little I've seen on youtube, the 1890 Beauty seems absolutely lovely.

Maybe I'm missing something here, but I'm a little confused. Does this mean that that there will be no more NEW productions of reconstructions created, while still dancing the ones that have been introduced (eg 1890 Beauty), or does this mean that the reconstructions that exist will be scrapped?

Also, I think it's interesting that the Bolshoi, with the more 'modern' outlook provided by Ratmansky, is the company going back in time. Funny how things change, huh?

I also didn't know that the Mariinsky is trying to lure Irina Kolpakova back to Russia--what role do you see for her within the company?

Thanks!

I saw Alina Somova during the City Center run. I was really prepared to give her the benefit of the doubt, thinking she couldn't be as bad as everyone says. Well she wasn't ... she was worse. She has no elevation, so when she goes for a grande jete it looks like her legs are just flopping. She also can't really move, despite her ear-whacking. Her fouettes are very amateurish, her pirouettes insecure, and she also has adopted the Uliana Lopatkina way of holding her head so her chin juts out.

I have watched EVERY video of Alina that I can get my hands on, and I have to agree with you. She is a lovely lovely girl, and the Don Q rehearsals are really nice, however, she's just too uncontrolled.

As for the Uliana Lopatkina way of holding her head--it's like adopting mannerisms and ignoring the rest of the technique, the story. Lopatkina holds her head up high because it fits with her style. Somova seems to do it because, "Oh, it looks good". Never mind that seh looks ridiculous with the talon fingernails and the floppy jetes.

sigh.

Let's hope for a Big Red promotion

Based on what I've read of her/by her, I think that the Mariinsky could do much worse. The fact that she has so much RESPECT for the classics and the ballet tradition is so important and is one of her best qualities, I think.

While this is very exciting, hopefully Osipova's guesting won't overshadow the other fine dancers. I really don't think she and Simkin should be paired together, since that's basically excluding them from the rest of the company. Osipova and Corenjo? How does that sound?

WOWWWWW!!!!

Can't wait to hear about her!

Somova thrusts herself upon us -- she reminds me of Lydia in Pride and Prejudice.

What a wonderful comparison, Paul. I can visualize your point immediately. Not having seen Somova on stage, I found myself applying "Lydia Bennet type" to a couple of other ballerinas I've seen over the years.

I was trying to find a description of Somova, and "Lydia Bennet" is perfect! Thank you Paul!

Ooooo Devdas! It might be a bit too long, but it has everything! Star crossed lovers, drunken revels, dancing girls who fall in love with the wrong man, tragic ending.

Oh man, I wish I could be there, but I expect DETAILED reports!!!! I'm so happy that Ratmansky's working with ABT, it just seems like a good omen!

Osipova+Simkin? How does that sound???

Beautifully written

I still think of a clip of...someone, (BW so probs Fonteyn), whom I saw on television when I was about 10 or so. After the 3rd balance, she did not take the partner's hand, but just posed, smiling serenely at the 4th partner--it was as though they were having a conversation just via their eyes. She never once looked down at the floor, and it just seemed so natural that he would wait for he to finish, and then theywould go through the last pose together. So beautiful

If Ratmansky can bring to ABT 1/100th of what he brought to the Bolshoi, ABT is blessed indeed!

Great news!!!!

I was just wondering...if Malakhov is gone, wouldn't he have gotten a farewell performance? I would think that someone of his stature would deserve at least a Giselle with Vishneva or something. I understand he hasn't been with the company for a while, but still...Nina took an extended leave of absence too....Does the company usually remove pictures and then announce?

For some reason, I've always loved the Act I ppd from Don Q more than the famous Wedding Pdd. It's just always been more enchanting in its livelieness.

I suppose if it can be hidden under costumes, then, fine, go for it and celebrate the individuality of having multiple inked needles being jabbed in your skin (I hate tattoos, if you couldn't tell ). However, if there is even a slight risk that it MIGHT show under a costume or the costume won't cover it...then, I hope the dancer would think very carefully about whether his/her individuality is worth the stress of applying makeup, adjusting costumes, etc...

If you want to celebrate yourself of whatever, take up painting. On canvases. Who knows which tattooed dancer is hiding their inner Picasso.

Hello all!

Well, I'm back from my long hiatus from the ballet world. Studying has taken it's toll on me, but fear not, I spend most of my time on youtube watching my favorite dancers

I was just wondering, the already bad situation in Georgia/Russia/South Ossetia has just gotten worse. What does this mean for dancers such as Irma Nioradze or Nikolai Tsiskaradize? Will they continue to dance in russia? And what of Nina Ananishvili?

I'm terribly sorry about bring some bad news to the forefront--but I really am curious (and a little nervous).

Other than that, hope everyone is well!

**Goes back to textbooks**

ngitanjali

Bravo, DRB for that insight. Talent (and Daniil is an electric, exciting talent) must be recognized. Baryshnikov probably blew Ted Kivitt and Royes Fernandez out of the water when he joined ABT in 1974. Should they not have hired him? Who other than those two dancers would have gained from that? Blaine Hoven may be a very nice dancer and able to carry a lead role but will he be a star who can sell 4000 seats at the Metropolitan Opera House? Very likely not. Ditto Isaac Stappas who has had a lot of solo opportunities especially during the City Center season.

How about some of the women who have been languishing: Maria Bystrova, Zhong-Jing Fang et al. Anna Liceica who had a lot of potential was just thrown away. Look at all the been there, done that with the principal casting this coming season (only Cornejo and to a lesser extant Murphy have substantial new roles). There are lots of sad stories of missed opportunities at ABT and elsewhere. I am glad that Daniil is getting an opportunity and maybe if ABT adds a week to its City Center season more of these young corps dancers will get a chance.

What about Erica Cornejo? She is exceptionally talented, however, she left to go to Boston because of the lack of roles for her. I mean, Boston is an excellent company but still...

How wonderful! I've seen him dance on youtube, and he is phenomenal!

Hopefully we'll have a great set of ballerinas for him to partner!

Question though, what about Dvorovenko, she's still with ABT, correct?