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Dec 15 '04- Lopatkina's Lilac returns...NOT!


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[NOTE: Title of topic changed to reflect what traspired; original post's text unchanged - NN on Dec. 16 '04]

OK, folks. This will be a winner. According to the just-published December '04 Mariinsky schedule (not yet on their website but sent to me by family), the K. Sergeyev ("Soviet") Sleeping Beauty will be performed on 15 december. The theater is sure to be jam-packed with local balletomanes, not only because this is a rare performance of their favorite setting of the ballet BUT because of the casting: the first Aurora of young Olesya Novikova and the long-awaited return of Uliana Lopatkina to this ballet, in her celebrated role of the Lilac Fairy! Sarafanov will dance Prince Desire.

I get chills just thinking about it.

Of course, that is the published casting, which, as we all know can change. Yet...

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Ha-ha, koshka! Novikova DOES dance Kitri...and 'ochen kharasho' too! I believe that you saw Osmolkina's Kitri on October 10 BUT, if memory serves, Novikova danced either Queen of the Dryads or the Act IV bridesmaid variation on the 10th, didn't she? I'm trying to recall what I read on the Russian chat rooms...

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I'm kicking this one back up to spur some discussion, as the date is fast approaching. As I predicted, this upcoming performance has become a huge big deal in St. Petersburg. All 'local' seats are sold out (the most expensive seats being held for foreigners until the last possible moment).

HERE'S THE LOWDOWN on the 'fight,' in plain English:

Some (probably the majority) of St. Petersburg balletomanes are heralding this evening as a triumph of the Russian people (return of the Soviet-traditional Beauty by Konstantin Sergeyev they've all known & loved since childhood) vs. the 'New Russian'/foreign-influenced reconstructed-1890 Beauty that was (to many) 'shoved down their throats' by 'smart-assed' American scholars, working with the Harvard University Stepanov notebooks smuggled out by a non-patriot 'criminal', Nikolai Sergeyev, before the Revolution. Many of the greatest stars of the Mariinsky Ballet, most notably Lopatkina, have refused to perform in any of the 'smart-assed foreign' reconstructions. Recently, Lopatkina returned to Bayadere when the Soviet version of that ballet was restored; now she's about to return to Beauty, in its Soviet version.

I'll be monitoring the press & my friends/family who have managed to obtain tickets to this performance, which is the talk of the town.

If any lucky BalletAlerters will be in St. Pete for this event, please do post your impressions & news. (koshka??? Marc??? anyone?)

- NN (p.s. - I'm just writing for effect when mentioning 'smart-assed American scholars'...as I love the new-old reconstructions, as well as see value & beauty in the Soviet versions. Hopefully both versions of Beauty & Bayadere can co-exist.)

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Gergiev is ceding far too much influence to Lopatakina, who is a wonderful ballerina but qualified only to determine what she wants to do, not what the direction of the company should be. She is not a ballet scholar, not an executive, not a person whose artistic judgment is at all infallible. Since returning from her injury her performances have aquired an authoritative air that borders on authoritarian, and I am loathe to imagine this kind of doctrinaire-ism impacted on the company.

I adore the Vikharev reconstructions, like the Chabukiani/Ponamarev Bayadere very much and don't mind the 1952 Sergeyev Beauty. Hopefully all can be admired in the Kirov repertory.

However, the disastrous and inequitable casting miscalculations -- Sarafanov is now dancing twice (Rubies and Corsaire) in two out of the three ballet/opera galas in Washington -- being made by the current ballet administration have left it vulnerable to a take over by Lopatkina and other Gergiev allies.

Furthemore, although Kennedy Center has been advertising Daria Pavlenko's appearance in La Valse at the galas for months now, it is Lopatakina who will dance both La Valse and the Dying Swan at all three galas!!

This is in direct defiance of the Balanchine stagers, who objected to Lopatakina dancing the premiere of La Valse in Petersburg because she refused to attend all rehearsals. [sorry is this gossip?]

Is this the Sarafanov/Lopatkina show or the Kirov Ballet? Where does this end?

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Gergiev is ceding far too much influence to Lopatakina, who is a wonderful ballerina but qualified only to determine what she wants to do, not what the direction of the company should be.  She is not a ballet scholar, not an executive, not a person whose artistic judgment is at all infallible.  Since returning from her injury her performances have aquired an authoritative air that borders on authoritarian, and I am loathe to imagine this kind of doctrinaire-ism impacted on the company.

I adore the Vikharev reconstructions, like the Chabukiani/Ponamarev Bayadere very much and don't mind the 1952 Sergeyev Beauty.  Hopefully all can be admired in the Kirov repertory.

However, the disastrous and inequitable casting miscalculations -- Sarafanov is now dancing twice (Rubies and Corsaire) in two out of the three ballet/opera galas in Washington --  being made by the current ballet administration have left it vulnerable to a take over by Lopatkina and other Gergiev allies. 

Furthemore, although Kennedy Center has been advertising Daria Pavlenko's appearance in La Valse at the galas for months now, it is Lopatakina who will dance both La Valse and the Dying Swan at all three galas!! 

This is in direct defiance of the Balanchine stagers, who objected to Lopatakina dancing the premiere of La Valse in Petersburg because she refused to attend all rehearsals.  [sorry is this gossip?]

Is this the Sarafanov/Lopatkina show or the Kirov Ballet?  Where does this end?

Excellent post Thalictum, I totally agree. I would never take anything away from Lopatkina - she is a great dancer. Dasha Pavlenko is a principal too, but based on the casting policy at HQ you wouldn't know it unless you checked the roster.

This goes for other exceptional dancers as well. Also, I trust that Leonid has grown since I saw him last year, but he's not suited for everything. For example, for me, watching him as Solor was like seeing Siegfried turn up in "Aida." Corsaire and Rubies are suitable for him, but soooo much depends on who he's paired with. I know that scheduling is one of many factors in casting, and to a certain degree, what Fiona Chadwick euphemistically called the "personal opinion" of the management. But it's a shame that some principals and soloists have to go on tour to get performances that they aren't getting in Petersburg. Its even more ironic that when they tour they can still be denied.

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Excellent thoughts, Thalictum & Cygnet. But it goes far beyond Lopatkina. She is just one (very great & favored) dancer. By the way, the public pays the tickets and, believe me -- a person who has recently lived in Peter & sits up high in the 'cheap seats' of the Mariinsky -- the local public cares a heck of a lot more for Uliana Lopatkina than it does for Daria Pavlenko. As for the Kennedy Center programming, that's another topic for discussion...and I'm not quite sure how much of it is official. [Edit - Only the Gala casting is now up on the Ken Cen site; still awaiting the Cinderellas.]

Folks are missing the point of my post: the Battle of the Beauties. I think I'll repeat yesterday's post under a new heading. We can continue to discuss Lopatkina's influence here.

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Thalictum, Lopatkina is an icon of Russian culture (not just dance) in Russia. Have you ever lived in Russia during the past few years? Even when she was on her long maternity-then-injury leave, she was constantly being sought after by the press for op-ed pieces, philosophy, comments on trends. She recently published an article in a widely-circulated Russian Orthodox journal about her philosophy of love, for example.

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I have been in Russia for extended periods, never lived there. But I hadn't realized she was that much of an icon. I now am further convinced that Gergiev intends on installing her as director, co-director or de facto director of the ballet.

But if she is spouting the nonsense about the 1999 Beauty that you cite, she is not offering logical or reality-based arguments and for me they carry no more weight from her mouth than anyone else's.

I think Vikharev has been very capricious in the casting of his revivals, however, and that has resulted in more antagonism than necessary. Why has Maya Dumchenko danced Aurora in the 1999 production perhaps twice at most ? Why has Svetalana Ivanova never danced Aurora in Vikharev's production, only Konstantin Sergeyev's? Why did Vikharev refuse to let Vasily Scherbakov dance Desire in his Beauty after Vasiev himself cast him in it? These rebuffs of people who would be perfectly cast in these roles tend to antagonize a company.

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Good examples...but these things tend to happen in all prof'l ballet troupes, not just the K-M. Svetlana Ivanova, by the way, danced Aurora only a year or two out of school -- grad of 1996 -- but never has been all that strong. Lovely soloist but... She & her classmate, Tatyana Nekipelova, had lots more 'promise' as possible stars during the classroom days than really occurred. That happens all over, doesn't it? So much can change between age 17 and 18 (not just body-wise). I wouldn't be too harsh on the K-M casting people. They've been giving lots of opportunities to lots of dancers, esp. lately! [both Dumchenko & Scherbakov have been dancing up a storm in the past month, in fact. More than even before Dumchenko's maternity leave!]

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Perhaps the complaints about favoritism have made them be more inclusive.

Dumchenko danced together with Scherbakov at school alot, they would be a great pair in Beauty.

I still think Ivanova has been needlesly overlooked. Did you see her Beauty? How was it? She certainly is more naturally suited than a lot of the other Auroras Vikharev seemed to sanction. Ivanova's teacher/coach Inna Zubkovskaya adored her, and Zubkovskaya was a very determined woman. But after Zubkovskaya's death in 2001 the Kirov seemed to lose interest in Ivanova. I have to say I thought Ivanova stole the show in the Forsythe program.

Whatever the fate of Vikharev's reconstructions he is also artistic director in Novosibirsk. And a great coach -- got the performance of Kolb's life out of him as Solor in the 2002 Bayadere reconstruction premiere.

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thal, Svetlana Ivanova's lone complete Aurora happened in autumn '96 or early 97. I was in the USA during that entire season & just read about it. Igor Stupnikov gave it 'OK - promising' if not glowing marks. I saw her dance Giselle at a school perf in early '96....lovely & ultra-light...great feet & 'Romantic air' but I always kept praying that her matchstick-thin legs would be able to support her through the performance! I was always afraid that her too-soft (but lovely) feet would cave in at any minute...she was so unsteady. Those are my memories.

She & Nekipelova were very much 'supported' (politically) by their wonderful teacher, Zubkovskaya, in their early days as professionals...got their opportunities...but it did not always develop beyond promising debuts.

That said - I love & admire both Ivanova & Nekipelova, even as coryphees!!! Not everybody is meant to be a star.

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Apparently it is now Osmolkina,not Novikova, who is dancing Aurora at the Kirov tomorrow, with Lopatkina returning to the Lilac Fairy. Both Osmolkina and Sarafanov are making their debuts. It would seem a perfect role for her. Sologub and Scherbakov are the Bluebirds -- they were wonderful together last summer in Giselle.

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Apparently it is now Osmolkina,not Novikova, who is dancing Aurora at the Kirov tomorrow, with Lopatkina returning to the Lilac Fairy.  Both Osmolkina and Sarafanov are making their debuts.  It would seem a perfect role for her.  Sologub and Scherbakov are the Bluebirds -- they were wonderful together last summer in Giselle.

Thanks, Thalictum. My sister-in-law saw this in the posters yesterday. She'll be attending.

I agree about Osmolkina, who has really strengthened this year. She had a bad 'Don Q' in October (fell twice -- huge splats -- in the same performance) but that was due to her taking greater chances/risk, which is a positive. As Aurora she should be a bit more reserved, I hope.

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She [Osmolkina] had a bad 'Don Q' in October (fell twice -- huge splats -- in the same performance) but that was due to her taking greater chances/risk,

I saw the splat performance, and she really was pushing the envelope both before and after her early fall. Her willingness to go all out was really impressive.

Any word, btw, on whether she will be in Washington in January.

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Koshka, unless Osmolkina has been cast in one of the 'soloist couples' that precede the leading couple of 'La Valse'...I doubt it.

Thinking about 'Valse' casts I saw....Gumerova/Zuzin, Selina/Khrebtov, Obratsova/Sherbakov tend to be cast in those roles...and the three tall ladies are usually Kondaurova, Iosifidi and Vostrotina (or, recently, Androsova). The leading female role goes to either Lopatkina or Pavlenko (we'll get Lopatkina in DC).

The other hope would be that Osmolkina take-on one of the two 'ugly stepsisters' roles...but they are usually cast from among the following dancers: Viktoria Teryoshkina, Irina Zhelonkina, Yulia Kasenkova, Yana Serebriakova or Elena Sheshina. Polina Rassadina, Zenia Dubrovina, Tatyana Nekipelova and (now retired) Margarita Kullik have also danced the sisters in the Ratmansky version. I don't think that Osmolkina has ever danced 'sisters'.

The hilarious role of the Stepmother in the same ballet usually goes to Irma Nioradze, Tatyana Serova or Alexandra Iosifidi. [Makhalina danced the premiere -- the best part of that night, for me!...getting more 'bravos' than even Vishneva in the lead - but hasn't danced the role since then.]

Really...I don't see what Osmolkina could dance, that's already in her rep. Sorry. Hope I'm wrong!

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**NEWS FLASH!***

Forget the original title of this thread...Lopatkina's Lilac Fairy did NOT return to the Mariinsky last night! She was replaced at the 11th hour by relative newcomer Ekaterina Kondaurova (a very tall & thin redhead), who was greeted by audible moans from certain sections of the standing-room-only audience who had come specifically to see Lopatkina.

After so much bally-hoo & expectations...Lopatkina & the Mariinsky made a late substitution, not bothering to update the posters. My sister in law was very upset, as were all of the people in her group. At least she lives 'locally'; many people travelled on train from Moscow & beyond for this.

My sis-in-law says that Kondaurova was obviously flustered yet performed adequately considering the terrible situation in which she had been thrown. The fairies, esp. Elena Sheshina, were all sub-par. [she said that Sheshina, who is short limbed, looked out of place in the fairies ensemble, dancing next to tall girls.]

On the good news front, she wrote to me Ekaterina Osmolkina triumphed in her first Aurora...stronger than anything she'd seen Osmolkina dance before. Sarafanov was wonderful in his solo in Act III...but a tentative partner to the tallish Osmolkina. As sis-in-law wrote: "At least Sarafanov did not drop her, as he has in the past."

So much for the great evening, I'm sorry to report.

I think that the Mariinsky has now exceeded its record for most egregious duping of the public. Some Lopatkina fans saved their hard-earned rubles & cut back on some necessities just to see this show; one Russian chat room states that three children of one Lopatkina fan pooled their resources together to buy a ticket for they mom as an early New Year's gift. Tickets in balcony were about 500 rubles for 'locals'...that's about $17...a princely sum for public-sector workers who earn, on average $100 a month. YES - casting is subject to change (especially in Russia!) but...this was an 'event' that was highly touted and was being anticipated by ballet-lovers all over the city for the past two months. Furthermore, Lilac is not the toughest of roles for Lopatkina, who danced magnificently last Friday in 'La Valse' with no signs of injury & who has danced far more strenous roles (Odette/Odile, Nikiya, In the Middle somewhat elevated).

Acc'g to my sis-in-law, the theater made no announcement of or offered a programme note of why Lopatkina was/was not there. No announcement of an injury or other indisposition. Apparently, Lopatkina simply decided not to dance, for whatever reason. What a disillusion.

Back to work....just checking in to report what I heard from my family.

- Natalia Nabatova

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Just wonder, why is Lopatkina dancing Lilac Fairy instead of Aurora herself? As I understand from the previous posts, Aurora was given to a younger dancer, is that correct? Is it Kirov's policy to give Aurora to a young dancer, and Lilac to an older one? (the Kirov's video with Lezhnina as Aurora at 19 and Makhalina as Lilac comes to my mind immediately)

Just another piece of curiosity of mine :D

Silvy

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Silvy & thal -

Age has nothing to do with it. The K-M tends to cast Lilac as a 'queenly beauty' -- i.e., tall (or long limbed) & with majestic bearing. Osipenko & Kunakova types. Kondaurova certainly has the long limbs & has the presence, although it appears that she was very nervous last night. Kondaurova is only 20 or 21...grad of the Vaganova Acad class of '02 or '01. Younger than Osmolkina, the Aurora.

I should have added to the above report that, acc'dg to my sister in law, the "best part" of Act III was not the central pdd for Aurora-Desire but, rather, the Bluebird pdd by Natalia Sologub and Vasily Scherbakov. She also had praise for the 'freshened-up' designs & costumes by Simon Virsaladze (brighter costumes & sets than the last time that the 1952 version was staged...same designs but re-crafted).

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Natalia, I'm sure Ulyana's public was very disappointed, considering the many sacrifices that were made to see her Lilac last night. The Maryinsky and Lopatkina really dinged the scoreboard for capriciousness this time. An announcement

before curtain is always better than none at all.

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The whole episode is so bizarre, and quite disturbingly Soviet. Kondaurova also danced Lopatakina's role in La Valse this year.

Right - I had forgotten the La Valse....and what about Pavlenko being an eleventh-hour substitute for Lopatkina's premiere-night of 'In the Middle, Somewhat Elevated..." last March (Pavlenko dancing Lopatkina's night as well as her own 2nd cast night, the following day)? [Note: Pavlenko was spectacular in 'Middle' and is a principal, so the comparison to Kondaurova-substituting-Lopatkina this week is not quite the same.]

Maybe there IS a very 'legit' reason (injury or whatever) for the December 15th no-show. If she had a reason, she had a reason but, for goodness sakes, the MT needed to make an announcement once it became obvious that Kondaurova, not Lopatkina, would be dancing. After all, they announced the switch in Auroras (Osmolkina in place of Novikova) as soon as that was known.

My gut feeling is that Lopatkina had a 'legit' reason (was not just being capriccious) and the MT handled it badly. I'll see if any substantiated 'news' has come through the various Russian-language chat rooms & fora. If there's anything to convey here, I will do so. more anon.

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