ngitanjali

First of all, Natalia, thank you (and everyone else!) soooo much for writing such beautiful reviews! Stuck in the middle of America, with only my classes (ugh) for company, these have proved a welcome distraction! I only hope that I can see the company one day, hopefully Lopatkina. I have seen my fair share of videos online, youtube/google/yahoo...the whole lot. I saw clips of these stars' Bayaderes and Giselles, and was lucky enough to watch Makhalina/Ruzimatov's Bayadere online, so I got to compare them. In a nutshell, I thought I was watching the corps of Paris in the Shades scene. So beautiful, so uniform! The girls on the ramp were adjusting their arabesque penchees to match those a row below them, stunning! Same in Giselle, not a fingernail out of place! I saw some true standouts in the corps, obviously, this generation's stars were last generation's corps, the backbone, but all in all, enchanting. And Ruzi was lovely in both. A bit mannered however, I prefer him with Altynai Asylmuratova, I think she brings a purity and calmness that balances out his fire inside, and I've seen their Corsaire (The first full length I ever saw!) and clips of Carmen, as well as various others. Makhalina, however, I saw her dance both Giselle and Nikiya, and I can see where Somova/Zakharova/everyone else gets their inspiration (this seems to have skipped Lopatkina over...). Her extensions were higher, looser, etc...but she brought character to the role. She threw herself into Nikiya so much, that every sway of the wrist, the arms, the back turned into a story that she was telling. Her exaggerations...after I got used to them, seemed....correct. More importantly, I felt like she found hte appropriateness to it. Example; In the Shades, she did do a lot of exaggerated attitudes/penchees/arabesques, but it seemed like it was to show Solor, "I was in your kingdom before, and you were hte master. Now, you are in mine,, and I am the mistress of this domain, and we are equals." In Giselle, her arm just went back a little bit more, her eyes were so downcast, they were boring through the floor, and she proudly stood, so still, so poised, in front of Myrtha. Very different from Lopatkina, but good different. I then watched Somova in the Shades scene. And I realized something. I don't like her, not only because of the nails/extensions/etc...but because, she uses the extensions without telling a story. Each breath should convey something to me, to Solor, to the Shades, to the conductor. It shouldn't be, "Me!Me!*A little bit of you!Me!" She flops too. That foot isn't pointed completely, in jetes, her ankles do let loose. Give me the story, the passion, and for goodness sake, make it look GOOD. just my $.02. Or more, depending on the US dollar. I also found out today that my mother and I are traveling to India for 3 weeks, (during ABT City Center!). I expect many detailed reviews to read the day I get back! What do you think, move all this do a different forum (or start a new one...), if I'm in the wrong place

Umrao Jaan Ada and Devdas Both are works of Indian (the former is Urdu, and I'm not sure about the latter) Literature about the 1880s or so...just societal commentary. The stories are so sad, but if you want a beautiful representation, I suggest you watch the movies as well, "Devdas (1955)" and then "Umrao Jaan--NOT THE NEW ONE". Great books though, see if your libraries have them!

The gymnasts in the crowd were probably dancing tastelessly for happiness. ::grumble:: Honestly though, I think that someone else, with an idea of taste (Ratmansky, where are you???) and innovative ideas needs to come in. I don't want to see 300 Swan Lakes, but I do want to see 20 and other ballets, all done Well.

Hi All! Well, disclaimer: I KNOW nothing about administration at the KM So, any info you are giving me is soooo valuable and useful and interesting! First of all, why not Lopatkina? I've seen a few posts with misgivings about her. Is there something about her that translates to "Excellent Dancer, Prima...etc..." but not an "Excellent AD"??? If not Lopatkina, what about Ruzimatov? Or Zelensky? I believe they are heading companies in Russia, no? Who would you pick and what qualities would you want a Mariinsky director to have? thanks so much!

I know that Irina and Max, from ABT are very much married, with a beautiful little girl, Emma. But, I've never seen them dance together, except in small youtube clips of the Pas from Corsaire that Arte broadcast, and that seemed to be filmed to show love. But, her smile does light up as soon as she sees him, and it is lovely to watch.

I'm sorry, I was a bit pressed for time yesterday and I wanted to get the topic started before I forgot about it - No worries dirac I was just teasing!

Oooo, this should be fun , but honestly, dirac, you should have started us off Well, my Pdd favorites depend on the couple dancing. A Gillian Murphy/David Hallberg Manon isn't going to pack the same punch that a Ferri/Bocca or Vishneva/Malakhov one will Well, there's one: Manon Bedroom Pas. So...sweeping, yet so intimate. Giselle pdd, espec. when done with TASTEFUL dancers. Even though the subject at hand is quite sad, it's so...peaceful, and for that brief moment in time, we feel calm when watching the ballet, though the rest of it is frentic Act II "Save me from death!". Bayadere Act III. Same as Giselle, just a moment of calm after the craziness of Act II. Black Swan: Naturally! Where else does the girl put her foot down and dictate the show?? Don Q Act I. This one is ignored in favor of Act III (which is just as fine!), but I love the one-upmanship and flamboyance displaced here, that is somehow missing in Act III. Act III is focused more on the two in love and being a little more restrained, but Act I is "Go flirt with them all you want, it doesn't bother me!" *stunning jump of frustration* and all that flirting and banter

I think it wasn't perfect, like her Giselle wasn't perfect (perfect in the sense of Natalia Bessmertnova), but....there was something there which shows that she understood the nature of the choreography, it's history, it's meaning, and how to tailor her essence for the role. It was Natalia's sylphide, not "mass produced Sylph that was churned out of a factory", which was nice to see

The trouble with the Maryinsky now as I see it is that for a long time they were training many different types of dancers, all technically strong, but with different strengths and weaknesses, different body types, &c. Now they are training everyone to be Svetlana Zakharova, and they are able to do this because they can hand-select every single student who comes into the Vaganova Academy. Other big schools can do the same, but whereas they focus on every aspect of technique (to take the Paris Opéra Ballet dancers as an example, they can all jump and turn and beat as well as developpé to their ears, &c) the Maryinsky seems to have the single goal of higher extension (and to a lesser extent more pirouettes) with the result that technically weak dancers like Somova are given principal roles. I think one could argue that this trend toward a very high extension has been going on for some time with dancers such as Mezentseva, Asylmuratova, Makhalina, &c (even Lezhnina, toward the end of the Rose Adagio, raises her legs quite high during the écarté, failli, écarté, pas de bourrée, pirouette terminée en attitude sequence) but to me the difference is that these ladies never allowed the leg to go so high as to disturb their torsos or to give us the impression that we were seeing anything indecent, and they did not allow the legs to interfere with their arms. In addition, they could all still do petit allegro very well (Makhalina, for all her high extensions, had a very neat entrechat-six) and their grand allegro jumps floated through the air ("up and over") instead of merely traveling forward on the 180º+ degree angle of their legs. I am an admirer of the "old Mariinsky", as I call it. I understand that Makhalina et al were revolutionary for their time, but when I think about them in the context, I think that they and their high extensions were calculated. Each of them, to a degree thought "OK, for Giselle, let's go this much, for Odile, let's dazzle with a little more, and let's pull it back for Flower Festival" I mean, Lopatkina, Nioradze, and THOSE dancers still do that, and as long as they are there, the Mariinsky is still a gold standard, but with the advent of Somova...::frowns:: If I want to see gymnastics, I'll tune into the Beijing Olympics. But, I agree with you in that there was more thoughts of the appropriateness of the extension, rather than the "wow factor". In some cases, "wow" turns into "ouch, those poor muscles!" ::ponders:: Not to digress, but had Somova stayed with gymnastics, the Russians would have done wonderfully at Athens. Just a thought

!!!!!!! I've been addicted to Alina and Johan's clips on youtube, and this will be a nice present for myself after getting through the first year of undergrad. Something to look forward to

Oh, I definetly know what you're talking about, Hans. I used to dance a couple times a week at an OK studio near my house for a good price. now, though, living on campus, prices are nearly double, and I refuse to spend more on dance lessons than I do on food in a given month. Maya may have chosen dance over food, but I like my Indian food, thank you On another note. I was wondering, based on this discussion, about your knowledge about the number of physicians that understand dancers. I was considering looking into orthopedics, and when I went to my orthopedic doctor, he hadn't a clue about the differences between the body of a runner and the body of a ballet dancer, which obviously require different things. Do you feel that the physicians that do know this are adaquete? Make a new topic if I'm flooding

ngitanjali, you are so right about the different receptions from the west. But I would hardly call Somova a 'wunderkind' the likes of Osipova. Osipova is admired and cheered in her own city. Somova is admired and cheered by her coaches (and her one-person public-relations department on the internet). Oh, I'm never going to say that Somova should even be compared to Osipova, I'm just saying that from what I've seen on youtube comments (OMG! Her Extensions are...like, so amazing!), the younger generations of dancers are looking up to her. Plus, she is marketed as the "New Mariinsky". In my opinion: I don't want new. I want my "Old" (I cringe to say that), "traditional", "normal" Lopatkina. I finally saw Osipova's Act II of Giselle. It wasn't Ferri or Makarova or Bessmertnova...but it was something else and that's a good thing

I was just comparing the current Mariinsky Ballet and the Bolshoi Ballet, especially in the quality of its dancers and their artistry, and that's where I've started preferring the Bolshoi just that much *insert thumb and forefinger two mm apart* more. While Mariinsky has Lopatkina, Nioradze, Vishneva as the supreme ballerinas, they also have...*certain* gymnasts that regress all the beauty that the Mariinsky stands for. I just think that the taste level of the Bolshoi is good, and fairly consistent, and after seeing clips of Osipova's Giselle, I was convinced that the Bolshoi has managed to modernize its extensions and atheleticism without sacrificing taste and going for those 180+ degree extensions, you know? That's where I think Ratmansky should be given some credit (as well as the coaches, of course!), because he's managed to reign in everyone, while pushing them to take ballet to new heights. I can't say the same about the quality of the Mariinsky, I think there, it's more of a "To each his/her own, and we'll reward whomever gets the most applause" Do I have a wrong interpretation? That's just been my gut feeling over the past few months, as Somova and Osipova are the wunderkinds of their respective companies, and one has had a much different reception from us here than the other. ngitanjali

I actually began to (re) fall in love with ballet a few years ago, when Ratmanasky had just begun his tenure. Then, my only access was youtube and the modern Bolshoi was featured prominently. He will be much missed, and I am worried about who's next. I like Tsiskardize, however, he's still a dancer, and proud of himself, so I wouldn't like the idea of him running a company, because he might put himself in all the roles....you know, power and all that. I just hope that I'll get to see the Bolshoi in Moscow one day, and it'll be as stunning as I imagine.

I was just wondering....(and please move this thread around if it's clogging up space)...but those of you who have seen Somova live, knowing what you know about her capabilities and her style of dancing, if the Mariinsky toured with some more modern pieces, especially Forsythe, would Somova fit better into those? All I have seen is her Rose Adiago so I don't really know what she's suited for. Also, is Makhalina retired? I've seen bits and pieces of her dancing, and I've just fallen in love with it. Beautiful extensions AND art!

I was wondering that too (sorry for posting so much!). I like how she's shifted back to the age of Plisetskaya, Maximova, who were undeniably energetic. Bessmertnova was someone who was a little...slower. Maybe, also, kids and teens like Natalia as well, she's a little more exciting than Uliana Lopatkina's (stunningly perfect) slow White Act, you know? As for artistry, I don't know what to say, since I've only seen her on a 4 inch screen. Maybe I'm comparing everyone to the Legends of the Bolshoi and Mariinsky, which could be an issue. Relative to the current crop of Russian dancers, Osipova is fairly artistic. Relative to a generation ago...perhaps not so much.

ATHLETIC! Thank you! I've been trying to think of the perfect way to characterize Natalia, Maya, Maria, and others, but I just couldn't come up with it. And you're right Leigh, Natalia's TRUE calling is actually on "American Gladiators". ;)

I can hardly think of a more womanly dancer than Plisetskaya. Strong and earthy, to be sure, but undoubtedly feminine. Alexandrova shares these qualities. I'm not sure I'd put Osipova in the same category -- I've seen her only as a Don Q flower girl -- but she certainly didn't strike me as masculine. I quite agree! I think that all 3 are just so wonderful in their abilities to take strength and make it feminine. Osipova, frankly, is stunningly wonderful in Don Quixote, do catch it if you can! I just don't see masculinity in female dancers, I always see "feminine with a touch of...." ::scampers off to youtube::

You've got that right, Mashinka. Interestingly enough, those 'deranged elements' (or should it be singular?) tend to be the same person(s) who constantly prop-up The Gymnast of the Mariinsky. Coincidence? Enough said about The Gymnast, I'm sure she's lovely, I just get weepy thinking of her in the same company where Asylmuratova and so many greats originated from. About the masculinity, I never thought that Alexandrova or Osipova or anyone were really masculine, both remind me, in some ways, of Plisetskaya. However, going by the defs. of "masculine"...would one categorize Plisetskaya as masculine in her technique?

Of course, if you're affiliated with a university or college, you can get access to the NYTimes for free! It's a bit more painful to search online, but I've wasted many hours (well, not wasted ) reading about Gelsey and Cynthia, when I should have been reading about cells and molecules.

I finished "Life With Jeeves" which consisted of "Very Good, Jeeves", "Right Ho! Jeeves!", and "The Inimitable Jeeves". I don't know if I've ever LAUGHED so much in reading a book I'm working on, yes, Nureyev's biography. It's an encyclopedia, and I think I'll probably purchase it, since it is such a nice reference (and the index! so specific!). In addition to that, I also am signed up for a Political Science Class about Poli Theory and it's application to globablization (::eager:. Therefore, before the class begins, I need to read "The Communist Manifesto", "Two Treatises of Government", "The Leviathan", "The Prince" and "Discourses on Livy", as well as "significant other works by the following list of author" (the list was given to us). What fun! It should nicely balance out my premed courses. I got a wonderful compliment from my roommate the other day, as I was reading...something by Stanislaw Lem....I think, and my roommate was watching football (gross) with some friends. One of the friends asked what I was reading, I replied, and my roommate said, "Anjali is one of the most well-read people I know, and she's not even pretentious about it!". good to know

A few years ago, I was convinced that I would become a history professor, attending Oxford, studying in Paris, etc. etc....My bemused parents pretty much ended up buying me nearly all of Alison Weir's books...and I was riveted by them, even then. Then, I guess I had an epiphany that I wanted to become a doctor And, only three weeks ago, I had another epiphany that I want to pursue an MD/PhD. My poor parents, having to keep up with me!! Anyway, I still cherish the time I read those books and I am still extremely fascinated with that era. Happy Holidays!

I suggested to Amma (the Tamil word for Mom) that she maybe wear a nice suit, and she muttered something under her breath about "Ugly Western clothing and abolition of Indian traditions". Anyway, she picked out her sari, she'll be wearing it, and I'll be driving her. *cowers from crazy Indian mother* http://www.indianweddingsaree.com/sareeima...w/big/20387.jpg It's something like this one, only with a less opulent border. I'm excited to see her in it!

I actually have a similar question. My mother and I will be attending the St. Petersburg Ballet on April 4th to watch Romeo and Juliet (it's a Friday night). She wanted to know if it would be appropriate to wear a full silk sari embroidered all over with gold/silver threads (she wants to know if she'll be tooo toooo overdressed). Since we rarely go out, and Indian gatherings are so few here, she'd really love the opportunity to wear such an outfit to a special event. Will she be too overdressed? As for me (I'll be driving, so my outfit needs to be more condusive), I'll be wearing a red cocktail dress (well, it goes below my knees). Does that sound too inappropriate? I just remember at Boccatango, everyone was wearing pantsuits, and I was really out of place in my Little Black Dress. Thanks!

Well, I just checked out the book from the library. If it's enthralling as most seem to say, I'll look into buying it. I haven't started yet, since I have finals, and then my wisdom teeth are coming out on New Years Eve (), so I decided to use Rudik as a distractor from the pain. I will definetly post a detailed review up, since I'm really excited about reading it. Otherwise, I checked the price of the book on Barnes and Noble, which is about $27.00. (I could go cheaper somewhere else, I"m sure, but I have a membership with BN). For that price, I could get one, if not two, DVDs of Nureyev. Which is worth the money? Nureyev in print or Nureyev on film? What do you think?