Catherine

No no -- I wasn't talking about NYCB, I'm not from that city, so i can't comment (haven't seen their corps) since the 80s. Talking about other national companies in the US...

Well, the theaters operate differently in the US, at least in NYC. Rather than mix the ballet and opera programs as they do in St Pete (or London and Paris for that matter), the seasons are dedicated to one genre. So in NYC, the Met runs opera EVERY NIGHT from September to May. Then ABT takes over the theater, again every night for 10 weeks or so. The NYST currently runs NYCB for 4 weeks or so Sept to Oct, then opera from Oct-Nov, then NYCB Nut from Nov-Jan, then NYCB rep from Jan-Feb. More NYCO from Feb-April, then NYCB till June. Ballet companies revisit regularly in both theaters. And there is more ballet/dance sprinkled through the Fall at City Center. At least in NY, we do have enough to keep ourselves busy. Perhaps you are in the wrong spot? Indeed. I lived in St. P for almost 6 yrs, just up to last year. I had no choice to leave when my visa ended but oh how i wish I could return! There really is no ballet --after experiencing the Mariinsky for so long, year-round-- in the USA that would satisfy me. NYC is a step up from my tiny home town on the other coast (which even "in season" (Jan-May) doesnt have nightly ballet), but even that...it's not Russian, the corps is mix-matched, etc etc... *sigh* Withdrawal is painful! Try demoting yourself to Nestle's quick after eating Godiva daily...

But in Russia you have both, for 11 months out of the year Forgot to add the most important: before the curtain there was a short speech wishing Makarova well (she sat in the Tsar's box), including comments that she had done in her art what not even Pavlova or Spessivtseva had done -- setting ballets around the world and being lauded for them. Makarova did come out on stage at the end and bowed, taking in the warmth. She is quite short. I tried to imagine her with a 5'8" ish cavalier behind her, and the effect is much *smaller* (all around) when used to watching the long elegant stretch of Lopatkina. Different eras. Well for most New Yorkers I think they kind of split the world into two seasons: opera season (fall into winter), and dance season (starts after Nutcracker, but intensifies in the spring). Of course there is overlap with the NYCB's winter season and Paul Taylor's visit and Fall for Dance but the intense focus is on opera in the fall and winter, and dance in the spring. For those uninterested in opera it might be a drag but for those who have an interest in both it works well.

Am reviewing for a publication, so for now can just say "sublime"! I have been in the US for 6 mos now, and it has been a long painful dry spell in terms of dance viewing. I cannot understand how the level of dance in classical companies --and the QUANTITY-- is so low. After over 5 yrs in Petersburg it has really been a shock to my system. In SF: No fall season. What is that? Really? I understand NYCB only has its first fall season this year. ABT also isnt performing yet. What is that about? What are balletomanes to do from May to December? Hibernate I guess... So, seeing this classical warhorse, after being artistically "starved" -- well it was like food for a dying man. Simply sublime. Lopatkina sublime. Korsuntsev sublime. Popov as the Jester - sublime. THere's nothing negative to say about this company or any of the dancers. The corps is out of this world, you cannot see that on any American stage, period. Interesting that Nikitina seems to have filled out a lot. I didnt expect that, i expected her to stay as lanky as Somova. Shirinkina is now the lead swan, so Selina's months --and years-- of that spot are long over (obviously, as she's no longer just coryphee!). Victoria Brileva is easy to spot as one of the four swans now, along with Skorik. They're probably the two beauties "to watch" bc Kondaurova started out in the same spot...

hi all, Pavlenko is already back in classes and --more importantly-- rehearsals. So just a matter of time til she dances something this season. I'm in Petersburg at the moment -- tonight is Lopatkina's Swan Lake in honor of Natalia Makarova, who will be present (her Jubilee). Grisha Popov will be the Jester, Danila Korsuntsev Prince Siegfried.

My guess is that since Sarafanov is not typically placed alongside Vishneva at home, that this prevents him from guesting with ABT. There may be an unspoken quota on how many Mariinsky guest artists ABT can house per season, I have no idea. And yes- the Mik in 2012 in NYC is planned.

Ah thanks. I agree w/Cygnet regarding the potential effects on Sarafanov's career, given how strong his classical background is. But maybe he wants to branch into more modern works? Hopefully he will have the ability to guest externally more often in any case. Then too, with the Mikhailovksy's deep deep pockets, they tend to tour more than the Mariinsky -- that is going to be more exposure. It will be an interesting move in any case.

What is the source of this information? I mean his departure to the land of Duato? (who by the way won't be fulltime in the theatre until Jan 2011 either). I just have to say, you watch the a la seconde turns at the end of that clip, and the changing spot -- and it gives me chills. Any company is lucky to have him.

I've been informed that the plans from 2009 to perform Balanchine's "Agon" are again underway, and that this ballet along with "MidSummer Night's Dream" will be performed by the Mariinsky in 2011, presumably first on home turf. I am hopeful that especially the latter will be part of the festival in April. Currently Jiri Kilijan is on site rehearsing another work, but there are no new ballets between now and the end of 2010 on the calendar.

I hope I'm wrong, but I don't believe that there are any West Coast tours planned for the Kirov/Mariinsky for 2011. I heard the next will be 2012, and I heard this LAST year, while I was in St. P, and that it was a decision based on the economic situation. (Well that and the monopoly on performing spaces in San Francisco, but that's another issue)...But that was for entire West Coast (LA area included).

A bit late, but I just have time to stop at the forum now and I saw this thread. Indeed, Natalia, based on what I saw a year ago (2009) on stage for the grad performances, and again this year inside the Vaganova Academy during the examinations, Viktoria Brileva was the one who caught my attention the most*. She is breathtaking to behold, was the most polished in her class and just simply exquisite. IN particular, aside from her classical technique she was (oddly) stunning in the character dancing --which I would not suggest is her emploi at all (and pray to God it will not be, she is far too talented for that). *I have to qualify that statement though because Olga Smirnova is equally exquisite but in another way -- fair haired and long limbed. Brileva has dark hair and pale skin and I believe is a bit taller. Both are ballerinas-to-be. It's already in them, and that's visible. I thought Shapran still had a few more years to go because when I first saw her in graduation performance and commented on her she was very VERY young yet. I now can't recall which year it was but I think she hasn't yet graduated? I remember talking with you about her before though - definitely an eye catcher in her class. p.s. not yet used to this new "face" of the forum template but it is quite sleek. Kudos to the development team :-), I like it.

For those who are interested, the Vaganova Grand Prix, held this year at the Mikhailovsky Theatre, featured some lovely dancing. Olga Smirnova won first prize/the gold medal. She has one year left to graduation but is already more mature than many professionals. Her lyricism in the graduation performances this past June was breathtaking. And the previously noted Kristina Shapran won the silver medal.

Just a note to share the exciting news: The Mariinsky will premiere Alexei Ratmansky's three-act "Anna Karenina" to music by Rodion Schedrin on May 1, 2010.

I agree, she is a gem, full of talent and artistry. Also agree it's highly unlikely she would leave as you point out. I hope things change, but I don't expect them to...

Unfortunately no: They're not joking . I've come to the conclusion that Somova is the Michaele Salahi of ballet - the mother of all gate-crashers. Yes Natalia: Of course Tereshkina was and is superior. And that's the point isn't it? The question is, did Vicky's name, and the facts you mentioned above come up at all during the nominee selection process? It's rather obvious that the, what shall we call this (?), oh yes - fix - is in. This is insane atrocious. Just to second what Natalia said - we both saw the same performances. And I'm really shocked about this nomination, bc Somova's was not even in the same ballpark as Tereshkina's -- she had no understanding of the choreography, the nuances in the music hat Ratmansky had emphasized in the steps...

Pavlenko is not on Fateev's favored list. Although back from maternity leave for well over a year, the most she's been given are the street dancer in "Don Q", the all-acting, no-dancing role in the parting Pas de Deux from Jakobson's "Spartacus", and one go at "Chopiniana" recently. I doubt she will be on the tour at all... sadly. As a principal, she is no longer even given principal roles.

Wow, Natalia, you're right. I had forgotten about Sochi 2014 -- it makes sense that one of the country's leading icons would be involved! :-)

Wow. Thanks for posting that Natalia, how ever did you manage to find it?! I am going to send to my friends who live bicoastally (Vancouver/St Petersburg). This is so unusual for Lopatkina to venture away from home!

For a future book my vote is for a biography of a Russian dancer or choreographer. And I hope, Catherine, when you complete what you are working on right now you will tell us Fingers crossed it will be in English. Innopac, your wish, on both accounts, will be coming true. (If all goes well, twice). After the new year I would love to give more details :-). And absolutely, the book is in English. My Russian is fluent but it's not the kind of language that you write in as a native English speaker -- I could study it my whole life and English will always be stronger...! Still, there's a goal for you, but life is too short, and there are other goals that take precedence :-).

Yes, absolutely.

My apologies! I confused what you, bart, said with what I thought leonid has said. Apologies leonid! Anyway - true, I dont think this has touched the area of ballet (at least in my experience -- and I don't research historical politics, only cultural issues). But like you said, politics is another story, certainly "hard core" politics like Stalin's purges. Strangely though, on that topic, Medvedev recently announced something about the purges. It was in the news a few weeks back and I don't now recall details bc I skimmed over it. But it was something about recognizing the fact the purges happened (?) I think? It is just on the edge of my memory... I will see if i can find it...

Just a note that is perhaps tangential, but I think still relevant. The "happy ending" issue was not new to drambalet or socialist realism in Russia-- Vaganova noted around the time of her revision to "Esmeralda" in 1935 that in its 70 year history (to that date), the ballet had already previously been edited per Tsar Nicholas I's request to have a happy ending. I think it should be remembered that in Russia, the ballet was essentially funded by the Imperial family and thought of as their personal entertainment -- the tsar & family could thus influence what was shown or produced. After the Revolution this practice continued, only it was no longer the Imperial family dictating measures, it was the Soviet government -- but in both cases, not an internal, theatre directorship who decided such measures.

Did you edit that post after the fact? I believe you'd mentioned something about locked information towards the people doing the research in your initial post. In any case, I have found in my own research sometimes the Russians are not as accurate as they might be. The era you speak of is quite long ago as well, so it may also be an issue of what records do exist. The library itself is very poorly kept -- I have consulted volumes from as far back as 1910 that are held in rooms that are not temperature-controlled, so those books are exposed to the extreme humidity year-round and the uber dry heat of the radiators (in bookcases where the glass panels are often missing). I think the availability isn't an issue of politics -- Russian govt has bigger fish to fry than Nijinsky, certainly -- but of resources. Also in terms of the Diaghilev era, I would think it quite likely that the bulk of information about Nijinsky is not housed in Russia but in Paris or elsewhere, countries/cities where the troupe spent much of its time.

Thanks Innopac. It looks like the topic may be covered. I suppose this will be another book -- Or maybe a long, scholarly journal article? It would be super to know the planned publication date, but I realize he probably doesnt know that himself if still researching it. I wonder too, if his focus is really music, how much he will get into the ballet side of Petipa. You could discuss choreography as it relates to music, without getting into too much about choreography as it relates to other choreography from the era, or choreographic developments. In other words, it could be less ballet-related than some of the previous posters might desire. Depends what angle he will take with his work.

What information has been locked, Leonid? That has not been an issue these past 5 yrs for me...