Catherine

*sigh* so beautiful. a lost era...

The International Ballet Festival held at the Mariinsky theater in Saint Petersburg each year will take place from March 22 to April 1, 2012. I wanted to post as I know many on these boards do come in to attend, and I hope to see many of you there! :-)

Rg thanks for alerting us all to this. It is such a sad loss -- Berezhnoi was coach and advisor and mentor to quite a number of dancers in the company and continued to give daily classes (at 12 noon) each day in the theatre until recently. He is part of that older generation and part of another era that sadly is starting to disappear. I know he is already missed by so many people whose lives he touched. I too share in posting condolences to his wife Tatiana and to all the dancers in the theatre. What sad sad news.

I posted this on Critical dance and just wanted to share the news with fellow Bolshoi/Kirov followers. Current Vaganova Academy graduate (2011) Olga Smirnova has accepted a contract with the Bolshoi Ballet to begin her career for the 2011-12 season. An interesting choice, but explainable given the odd shifts happening at the Mariinsky recently. Having seen Smirnova at the graduation performances as far back as 3 years ago, and again this month, I can attest to her beauty and already polished performance style. One can hope that she will not remain in the corps de ballet for too long. Congratulations to Miss Smirnova and best wishes for the first steps in her professional career! (Post Script: She also appeared in Vishneva's benefice/ "15 yrs in the theatre" gala concert this past Thursday).

Batsuchan, Vishneva and Gomes danced "Giselle" here (Saint Petersburg/Mariinsky Theatre) last April during the festival and she has danced the Manon pas (excerpts) with him I believe in Moscow, as well as here, if I'm not mistaken, within the last year or two.

Diane, I missed your post way back on page 1 of the thread, so I reply here: My book can be found (for USA residents) on Amazon.com here: Vaganova Today And for European residents here: Vaganova Today It is also available on Amazon Germany, Amazon France, and Amazon UK. FYI. ___ Also just for the sake of thoroughness, I agree with the comments (Angelique some of which were yours) that the issues about technique are not relegated to leg height only. I tend to use that now as an all-encompassing phrase, but I should stop because it is misleading. The nuances in technique of past decades, small transition steps, the loss of details are also included in that overall topic/category/issue. And leg "height" is also really not what it boils down to, as you can have a dancer with a 180 degree extension do it with good placement, good taste, and musicality. Unfortunately that is not always happening and more often you see the effort to *achieve* the height at the expense of the other points. It is simpler to use the example of leg height (whacking) as opposed to explaining in print the difference between different pas de bourree...but the issue that I referred to is not only leg height. I did want to clarify that. [About Somova and open night casting I dont believe she is cast on opening nights at the Mariinsky. Unless you speak of a heavy foreign audience attended festival (and even then she did not open any of the last 4-5 spring festivals here in Petersburg I believe-- I can't recall if hers was opening night for Ratmansky's LHHorse or not, but if so that was the only opening of the April festival here.]

VRSfanatic, Natalia and...Azulynn (I think you were the ones asking). My book is already listed on Amazon.com and can be pre-ordered there. I will paste the link below. It officially is "born" in September, with printing/publishing schedules what they are. I appreciate your interest and if you read the book, please do give me any feedback you have. It was a very interesting labor of love on my part, and I hope it can support further discussion about the development and future of Russian ballet as a whole. Here is the link: "Vaganova Today" Several people made some excellent points, as I just happened back to the forum to a new thread, new page, and new conversation! VRS thank you for the detailed explanation above for what many people do not know. I reiterate some of that in my book (I hope it will not bore you, there is history of Vaganova's life and teachings, which I know you are already well-versed in, down to minute details :-)! ) I like how someone phrased it above, that high extensions are not (always) just a matter of degrees but rather a sign of what has been lost and what else is missing when the focus is on...well, on degrees. All else equal a high leg, per se, is not the problem; but the issue is that typically nowadays all else isn't equal. When the artistry is lost, or never present to begin with, (ärtistry in the sense of the *great* dancers of old, Semyonova, Ulanova, Maximova, etc) and the leg is whacked up there, we end up not with Aurora or Odette but some strange 21st century attempt to modernize what maybe doesn't need to be modernized. Of course, contemporary choreography is another issue.

Hi Azulynn, Well it's a long long discussion, not one for a forum. I do address this issue in my book. One point of view however, could be this: The Mariinsky isn't promoting so much as it is responding -- to the audience. Unfortunately you have a chicken/egg effect going on. When unskilled/untrained/uneducated audience members go for the first time and happen upon a ballerina who is whacking her legs, or giving inappropriate dramatic additions in the wrong roles (ie a flirtatious look as Queen of teh Dryads, for example) those audience members know no better, they have no other point of comparison. There are no comparable historical dance traditions in the USA, so how is one to know that this is inappropriate? She did it onstage, she's with this company, that makes it OK doesnt it? It surely looks impressive (I don't think there's any argument there-- it draws attention at least) but is it in alignment with classical tradition? Is it in support of the school training they studied 10 hours per day for 9 years? No, it's not. And from there you can stem into several arguments, including: a) when the West cheers, the company responds by billing the dancers they *believe* the West wants to see most. If inappropriate leg kicks sell more tickets, well unfortunately the days of 100% state funding in Russia are over...it has to compete, and unfortunately it is competing w/the fast pace of 21st century (shortened) attention spans. A higher leg *has to be better* because it is higher. Doesn't it? b) it is the very infiltration of the West (as argued by the Russian pedagogues now in their 70th+ decade of life) that created these higher traditions, the splits, acrobatics etc...altho Lopukhov did experiment with the same in the socialist realism-laden 1930s... as I said it's too big a topic that touchs on too many other issues just for a forum discussion. While researching my book, it was interesting to hear the poitns of view of the people inside the theatre, both dancers and pedagogues...

[Admin note: the first posts on the thread have been moved from the Oksana Storik "Swan Lake" rehearsal video" thread in the Kirov-Mariinsky Ballet Forum] Cubanmiamiboy - thumbs up to you. Speaking generally about ballet -- the reason it is not rhythmic gymnastics and the reason it is not a sport: There's a reason for technique and proper alignment. The Russian school is built on 200+ years of history. Vaganova solidified it in the 1930s, which I discuss in my book. There is a "correct" way for each step, each pose, and each transition. Distorting them is distorting the classical school. If you want high legs, or positions that are arrived at "any which way", "go to the circus," as the Russians say.

I agree, Vishneva is a fantastic Aurora. But Swan Lake and Sleeping Beauty are very different ballets, requiring different accents and different nuances, a different movement lexicon entirely, in fact.

Angelique, in any case, Obraztsova is shorter than Vishneva. And Vishneva cannot be compared to anyone else on the staff, in terms of status, for she was the only dancer (in fact the only one in the past 20+ yrs) who was selected while still a student to join the company--whether or not politics was involved in that decision, for she is the exception to the rules, to many rules. So it's apples and oranges in her specific case. If you compare her to Obraztsova, then you must compare her to Shirinkina, and Pavlenko, and Lopatkina and every other dancer on the roster, and draw the same conclusion: they were not asked to join the company while still at the Academy. Many people in Petersburg do not consider Vishneva an example of the Vaganova Academy (and by extension, an example of what here is known as the "Petersburg school") because she did not complete the full system of training there, because her technique espouses other tenants from the West, and also for the same reason you mention -- if she cannot successfully perform Odette/Odile then that makes her a different kind of ballerina. Here she is not seen as a Kirov dancer, per se, but one of world taste. (guest artist at Bolshoi, in Berlin, and permanently on the guest artist staff at ABT). I agree -- it is possible that in the near future Obraztsova/Shirinkina would compete for the same roles, however given the unfortunate disfavour towards Obraztsova, I believe we know who will be granted precedence.

It's not to say that *all* tall(er) ballerinas are on his black list. Skorik is not short and she just debuted in Swan Lake. However he has been promoting many shorter dancers lately -- and it could just be to "give them a chance". And then obviously he isn't (won't?) promote Obratsova, and she is also shorter... my interview with her a few years ago she commented that she is short, and now the trend is that only "tall" ballerinas can dance Swan Lake, and the test of making principal is whether or not you can dance Swan Lake (among other roles, but definitely has to be that one), that therefore she will never be a principal in this company. Hence the recent Moscow debut at the Stanislavsky (and again I say bravo to her!) So -- the height issue could be relative but the recent shift is keenly visible. "I hate it that politics seems to be so prevalent with regards to promotions recently." Me too, Pointe shoes. I used to think (in another lifetime, maybe an imaginary one!) of the theatre as the one place where politics weren't present. Now, if someone actually gets cast and shows up on stage at the appointed hour, I think it is a massive feat...

She had some injuries, a debut in Giselle that didnt go well... I was told she stopped dancing...

It is certainly not commonplace to promote a second soloist into a heavy acting role like Juliet. I can see this with Obratsova because her acting skills have been superior from day one. Having watched Shirinkina the past couple of years I am not sure that's the case, but I cannot comment either way until i see her. She was fabulous in the Millipied piece, but her projection is not as strong as others (like Frolova). She has those delicate frail bird-like limbs though, she's impossibly small-boned, the only other like her physically is perhaps Svetlana Ivanova or Elena Vaskiouvitch. I will attend this Saturday, curious how it will go. Fateyev is certainly promoting many of the shorter girls -- Martinouk debuted last Wednesday in Don Quixote, Cherpasova continues to get soloist roles (she danced the act III variation). Olesya Novikova, for the record, is much taller than Martinouk and Obratsova, but not as tall as Pavlenko or Lopatkina. I agree that HER O/O is LONG overdue, and am very excited for her. I have been told here lately by more than one that Fateyev is not keen on taller ballerinas; I am surprised Lopatkina is actually opening the London tour bc am told her treatment is not what it should be here at home. Skorik's debut is more a decision that she should perhaps be the nxt to carry the reigns than utter preparation on her part. (I reviewed both debuts & posted on Cd.com FYI)

Bouder's performance, technically speaking, was faultless. I haven't seen an American dancer with technique this strong since the 80s. A colleague (RUssian critic) said she thought she danced Kitri too much like Swanilda. Perhaps, but again, I've never seen anyone attack a role and succeed on this stage, first time in, like Bouder did. BTW Millipied only flew in on Wed or Thursday. He was here to rehearse before the premiere (readjusting for the bigger stage space here), but his assistants did the setting/rehearsal work until then. It was a full house (every night is now) and VERY well received. Hallberg had all the regal bearing of a prince. Fateyev said that after his guest performance with the company set for London this July, he may be made Guest Artist. That would be a first for this company...as there are NEVER guest artists here, at least not permanently on roster.

I think (not sure but i believe) he may have been there in person at some point but may not currently be there for the "premiere" (since its not, for him, a premiere) or at least, he isn't there for the opening of the festival. Best guess.

Indeed, hard to tell from the press release, but I am guessing it will occur at some point as part of the press conference.

While I adore Novikova, this is a disappointment -- I was very curious how Lopatkina would be in this role, and as a principal you would think she'd have more than 1 night in the festival. As you noted, Natalia, it says a lot that hers is the only night to have sold out! That speaks volumes about her popularity in Petersburg. Very disappointing, and I'm sure we're not the only ones who feel that way. Interested if people will exchange tickets due to the change in casting...

ksk04 I thought the same but have never seen Marquez so I dont know. No, Lopatkina has never danced Juliet; it's not in her repertoire, I think mainly due to issues of emploi. I think she would be fantastic in the role myself. She is very tender as Odette and as Medora...i dont think Juliet would be too much of a stretch for her, although many would argue the age is not a match. But she still looks very young on stage. Natalia I will update if i hear anything about those Balanchine ballets. This is the second time they've "dissappeared"! (will i see you in St P?) POB_fan, I believe someone had told me who was rehearsing them but I cnanot remember now. I will try to find out onsite next month, and post back here.

How nice that Lopatkina has 3 slots; Kondaurova 2. In Petersburg those would all be sold out.

Hello ladies and gents, Just wanted to share info about this year's festival in case anyone plans on making the trek to arctic Petersburg. The festival is going to take place from April 14-24th. The first two nights will be the premiere of Prejlocaj's "Le Parc". Also featured during the festival is a project by Sylvie Guillem (unclear which of her many projects); Viengsay Valdes, who first participated in the festival 2 years ago, will return to dance in "Carmen". (She is dancing it with Ivan Vasiliev in a NYC gala before then, I believe). That's the latest news. The company has/had been granted permission to add Agon and Midsummer Night's Dream to their Balanchine rep, and I was hoping to see at least one of those during the festival but it looks like that may not happen. I will be there in any case and look forward to seeing any other ballet attendees :-)

Well their London tour has just been confirmed, mid July to late July (two weeks I think?) So I highly doubt there will be a NY season this summer for that reason (unless they only sent a few dancers? But i dont see that happening either). The London stint is right at the end of White Nights, and the company tends to not tour during the White Nights itself. So in short: I haven't heard much about NY tour -- although dancers themselves were asking me if i had!! -- and since London is now confirmed, I dont think it will happen. Dont know where you're located, Len, but if it's the US, I would guess that the DC tour is your best bet. Alas, Uliana will only have one performance there... and I hope she remains on the tour, as you know how there can be last minute changes.

Hi nysusan, As far as casting goes, inside the theatre nothing is posted yet beyond the Baden Baden tour -- that is, beyond Dec. 31, 2010. If there's casting, it's on Fateyev's desk and not really further than that. My guess though is that they themselves may not have the casting finalized yet. But since Vishneva has a defined number of performances with the company per year, she may well know what those dates are ahead of others. Pavlenko just this weekend danced Aegia in Spartak in a short inner-Russian tour. She's slated to dance it again in January (the 12th I think?) ...so I doubt they will put her in any big classics anytime soon, as she's still coming back from her injury. Better safe than sorry/easy does it and all that.

Gumerova is dancing The Dying Swan on Thursday night as part of the Gala Concert too. Of note, Oksana Skorik will dance the White Swan Pas with Korsuntsev that evening as well... a step up from her position as one of the 4 Big Swans just a week ago.

Congratulations to Daria Pavlenko, Sofia Gumerova, Anton Korsakov and Evgeny Ivanchenko. They have all just received the Honored Artist of Russia title. Tatiana Terekhova and Elena Vorontsova have received the title "For Service to the Fatherland" of the II degree. Congratulations to everyone!