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SWAN LAKE -- reviews


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I can't believe there were no reviews from last night's opening, with... was it Irina/Max/Hallberg? I'm starting the topic with hopes somoene will let us know how it went last night and tonight, with Vishneva/Gomes/not sure who.

There usually is at least a 2-day lag time for reviews--so look for Monday's performance to be reviewed in tomorrow's paper (Wed.). Funny that in our high-tech age reviews never appear the next day.

I attended Monday and was impressed by Irina/Max/Hallberg. I never saw the Black Swan female solo variation and fouetees done so fast (no time to fall?)! Act 4 oh-so-funky (when is it not?); Act 1 dances way too fussy, but, again, well executed. A hoot to see Freddie Franklin onstage, moving about very spryly! Some innovative stuff in Act 3 with Neopolitan (2 men) and the waltz; the national dances were completely uninspired, as per convention (too bad--such great music).

More later if I get inspired.

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I can't believe there were no reviews from last night's opening, with... was it Irina/Max/Hallberg? I'm starting the topic with hopes somoene will let us know how it went last night and tonight, with Vishneva/Gomes/not sure who.

There usually is at least a 2-day lag time for reviews--so look for Monday's performance to be reviewed in tomorrow's paper (Wed.). Funny that in our high-tech age reviews never appear the next day.

Ray, I think she meant on here not in the paper (hence the topic starting)! :angel_not:

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I am going to bed now, but Diana Vishneva was amazing and the audience was very demonstrative of their feelings. Marcello gave his usual performace... but he appeared a little less engaged than usual. Diana on the other hand was so intense and she appeared to dance with her eyes closed in Act II at times, completely immersed in her role. Her back is amazingly flexible and her hands and arms are just exquisite.

The corps seemed a bit off in the first half of the ballet. It was nice to see Misty Copeland do some solo work; she performed beautifully, Stella was not as stellar as usual and Sasha didn't have much too work with as Rothbart, but his solo was exellent.

The production is gorgeous, costumes, sets, lighting and of course the music and the choreography. Diana was as believable a swan as a human could be. I think she nailed the role, but I would have liked to see more expression in her face and eyes. Or was I just looking at her body moving and not noticing it? When she does, it is very powerful.

One thing about the top ballerinas... their arms and hands are amazing to watch. Diana is a perfect example of this.

One thing which struck as odd... why would a swan "jump" as she does in the end? Yea, I know they call it a swan dive (why?)... but to my eye it looked strange... it reminded me of Tosca jumping to her death off the Castille in the final scene after she realized she had been double crossed.

Not a great review, but I loved the performance.

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Just got home from tonight's SL with Vishneva, Gomes and Saveliev. I thought this performance was much better than the one Vishneva did with ABT last year, although it was her Odile that sparkled and seduced (her Odette is still not poetic enough for me). Gomes was fine as the Prince but I didn't feel much chemistry between him and Vishneva (unlike in Manon). The pas de trois, with Abrera, Riccetto and Saveliev, was cleanly danced but nothing special. Really, except for the Black Swan PdD, I would characterize this performance as quite good but nothing extraordinary. And with this performance we bid adieu to Vishneva at ABT for the year.

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It was nice to see Misty Copeland do some solo work; she performed beautifully, Stella was not as stellar as usual . . .
Misty in pd3, cygnet or queen wannabe? Stella as a lead swan?
Not a great review, but I loved the performance.
Thanks, SanderO. Don't be so modest; you did just fine. I'd just like to know the pd3 casts (for both Monday and Tuesday) and in which role Misty excelled.

Thanks to you, too, Amour, :angel_not: who was posting same time I was.

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I'd just like to know the pd3 casts (for both Monday and Tuesday) and in which role Misty excelled.

I'd like to know the pd3 casts for ALL WEEK (affects my ticket purchase habits) and I always enjoy Misty! I say this, but after god only knows how many SLs in the past few years, I may be approaching exhaustion.

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Vishneva was on fire tonight. One of the most intense performances I have ever seen. She wobbled and almost lost ger footing during the fouettes, but otherwise was a delight to watch. True, her Odette is not poetic enough, because she's a real girl. Not an otherworldly creature, but very much flesh and blood. Passionate, desperate, doomed. Her black swan, on the other hand, is evil incarnate. It's quite easy to turn Odille into Salome (as most do), but Vishneva turns her into Herodiade.

Gomes, I thought, was exquisite - a true prince and a great partner for her.

Everybody else - an extremely poor showing. Especially, Abrera, Saveliev, and the corps.

But it all didn't matter with D.V. on stage. Breathtaking...

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Saw Vishneva/Gomes tonight. I was glad I went. I loved Visnheva's Odette. I thought she used her flexability very expressively and musically. Her variation was ravishing. Her Odile fell a little short for me. The ppd went well but I thought that in her variation she was not able to use the choreography to portray her character - she was just trying to do the steps. I am not a fouette counter, but I feared at one point that she would not make it on to pointe to continue turning. I am probably unintentially making it sound worse than it was. Nothing was bad and Odette was wonderful. Veshneva, who I've never seen before is clearly a world class ballerina. It is just that one goes to the ballet hoping for that transcedent experience and this wasn't that for me. It was enjoyable, it had transcendent moments but wasn't the total experience that keeps us all returning to the ballet to find.

Gomes was practially flawless. I found his partnering a little "handy" in turns. You saw him really turning her (this is an area in which I really love Steifel). But that is really nit picking. I thought his characterization and dancing really wonderful. As far as his solos went, it doesn't get better.

I liked Radetsky as Von R.

Pas de trois Ricctto, Abrera and Saveliev - very good, clean and enjoyable. I particularly liked Abrera for her beauty, rock solid technique and joy.

Two swans - Thomas and Corella unfortunately were not so good.

Misty Copeland had some nice moments and I did notice Sarah Lane in the corp of the Prologue as the one most likely to stay on pointe to finish a movement.

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in which role Misty excelled.

I know this wasn't directed to me, but Misty, Sarah Lane, Renata Pavam and Yuriko Kajiya were the cygnettes Tuesday night. I actually think they all did well, especially Sarah and Misty.

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Saw Vishneva/Gomes tonight. I was glad I went. I loved Visnheva's Odette. I thought she used her flexability very expressively and musically. Her variation was ravishing.

I also liked her Odette, feeling it was her most successful so far with ABT. The Russian back and arms were convincingly swan-like, and her dancing was especially pure, allowing the story to be expressed primarily in the clarity and inflection of her miming, and in interactions with Marcelo Gomes. He is the first ABT Siegfried to really connect with her method.

Tonight she chose to counter-balance her pure and refined Odette with a wildly powerful and erotic seductress of an Odile. To me Odile had been her problem here until now, but this was the most thrilling and engaging Odile I have seen perhaps since the very young Sylvie Guillem. The opening adagio was a miracle of connection: every step was a part of this seduction, so focused upon Marcelo. And especially her eyes and lips. She was not just looking at him to make sure her moves were serving their purpose, but to suck his eyes into hers; and his slightest erotic response woud be amplified in return by hers, in a way that told him he was turning her on: Ms. Vishneva understands men. When she kissed him just below the nose, well, he was one doomed sucker! As the PdD went on, her wildness and risk-taking increased beyond bounds of safety, so that she indeed needed a couple of saves during her 45 rotations, but after each she dared to go wilder still: it was all to him, he was her purpose and she became his universe. By the end of her display, as the audience shouted and screamed and applauded, he grabbed her hand and seemed to try to swallow her whole arm in an erotic fervor that surely crossed that line of dancer/partner reality that is central to her way (one might think of Ferri's words regarding her partnership with Bocca). I have never seen him so captured beyond control by a ballerina, and of course he already is our best at that! So, an utter triumph for Marcelo; in just two performances (Manon and this), such fabulous chemistry. What makes her great, he gets. To me the "if or how fouettees" is secondary for Odile (unless, of course they achieve classical purity, or joy of virtuosity--a la Murphy). What matters was her wild passion that would not stop powering up, no-matter-what. It was a brilliant and daring and risky way of telling this night's living story of Odile, they were both fully committed to their plan, they lived it and rocked the house. She's got her partner, and earned her triumph.

Their final act brought back her purity, as together they made the McKenzie version stuff invisible.

The other casting showed exactly why, in addition to the AD's total corruption of the greatest classics (What will he do to Giselle? This is more than a parenthetical issue.), I have lost hope for the company's future under McKenzie. In such roles as those in the PdT, where are the budding hopes for the company? This is where the next generation needs to show its stuff, so that they can prove they're ready for the next level. And burn hope in the hearts of the fans. Sure, some of our favorites from the soloists level might give us some pleasure, but such roles are not tests for soloists to become principals. They are the life-blood of possibility for the corps. Let them be danced by dancers for whom they are career life-or-death matters, portals to stardom that will of necessity be danced with all-out effort. I mean this as no disrespect to Riccetto, Abrera, and Saviliev. They are already there, and these roles just don't lead to where they might wish to go.

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McCauley obviously doesn't care for the ABT as his review in the NYTimes today makes perfectly clear.

One thing which stikes me as odd about ballet productions/critique is the focus on the authenticity of period architecture and costuming. I am not certain about how time specific and location specific the classic story ballets are, but in a sense does it really matter? It's an illusion, not a museum display.

We know that R&J took place in Verona. Does the set have to be actually a copy of some street in Verona? Surely not. And Swan Lake is yet another fairy tale... and it doesn't neet to have the verismilitude that one might expect from a play or a movie which aims at being a "period piece". All ballet is other worldy... people don't dance through life.

I don't mind the mixing up of classic styles of architecture and costumes... if it is done with finessse. One thing which I find beautiful is the color pallet of the set and costume designers at the ABT in productions such as Swan Lake, Manon and R&J. I don't imagine everyone showed up at a ball color coordinated, but perhaps in Italy they might have. But the image/illusion is lovely to behold.

A skillful set designer can employ classical motifs with some artistic license (they are artists and not historians) and create a "mood" of a historic time. I found the ABT's R&J worked and the NYCB's was a dismal failure. NYCB was trying to be new and colorful, but they missed because they has one leg in the uncertain past.

The ABT Swan Lake sets are stunning. The lake water in the background literally glistens in the glow of the moonlight. I have seen that gliustening on the water and the designers pulled that off perfectly. Hat tip to them.

As fas as historical accuracy of costumes and architecture... I could care less as long as the illusion works for me and provides the proper setting for the choreography. When the curtain rises I have to suspend disbelief and let the artists take me away.... all of them... the choreographer(s), designers, lighting and set carpenters, the whole crew and of course the dancers.

Vishneva, Gomez and the ABT made me a believer for a few hours. It made my day. McCauley is jaded despite the fact that he has seen thousands of ballet performances... Bad on him. He could only dream to have the talent Ms Visneva has in her pinkie.

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....One thing which stikes me as odd about ballet productions/critique is the focus on the authenticity of period architecture and costuming.....

I don't mind the mixing up of classic styles of architecture and costumes... if it is done with finessse.

As fas as historical accuracy of costumes and architecture... I could care less as long as the illusion works for me...

McCauley is jaded despite the fact that he has seen thousands of ballet performances...

First, just because Macaulay has a strong and different opinion from yours doesn't make him jaded. There's a very good reason he's been brought here to write for the NYTimes....

I thought Macaulay's review today was bull's-eye on target about Monday night's performance.

Irina started out with a fresh, breathtaking huge stag leap onto the stage as White Swan followed by a couple of stunningly lyrical arabesques that suspended the audience's belief she was Irina and a beautiful, fantasy woman-swan instead. That lasted about 5 minutes... Then it was back to Irina being Irina, pretty much manufactured (well programed) in her execution. She took few risks Monday night but she is strong and commanded the stage, dancing well, her way.

As far as costumes go..... come on.... what purpose do those ugly Star-Wars headpieces serve? The ones the female peasants in Act 1 wear. And the dresses on all the females in Act 1, including the pas de trois are much too long. Can't see enough of the dancing action. Meanwhile the male peasants wore tight shorts....Ugh.

The illusion worked for you, that's fine. It didn't for me, though I enjoyed Sarah and Yuriko in the pas de trois, but I wouldn't again put them together with Radetsy. Sarah belongs with a shorter cast, hello Herman!..... Yuriko is an amazing (big, strong, and light) jumper, and she is quite a bit taller than Sarah. Looked odd to see those two ladies as opposites.... like putting a small swan right next to a big swan in the white section. Yuriko danced exceptionally well making her difficult (man-ish) solo look completely effortless. Sarah was so lovely, so feminine with her gorgeously warm, upper body and very secure turning variation.

I plan to see Hallberg and Murphy tonight in the leads. Both are still maturing as dancers/actors, and I always look forward to seeing their progress with each season.

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McCauley is jaded despite the fact that he has seen thousands of ballet performances... Bad on him. He could only dream to have the talent Ms Visneva has in her pinkie.

There is nothing wrong with a critique delivered in an objective, gracious way. But I agree SanderO. Arch, sarcastic comments merely make the reviewer sound bitter and jaded - they are a reflection on what's missing in him (and how his jaded personality gets in the way of seeing a performance) not the production. I certainly think that the NYTimes could have found SOMEONE who knows dance well (after all, Macauley's background is as a dance historian, not a critic) but is more objective and could see things with a trained, yet objective eye. Personally, I'd rather read a review from someone with a fresh, enthusiastic viewpoint (who might have less experience) than a bitter, pre-programmed one.

And if I have to read any more references to Brits (Fonteyn, Markova, and Harold Bloom in this article, alone) I'm going to [figuratively] scream.

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Honeymoon's over for Macaulay, eh?

Shall we call Rockwell and ask him to take his job back?

. . .

I thought so.

[added]

I have a feeling Macaulay will be like Gottlieb and stimulate vehement discussion, and maybe a foodfight or two.

Seriously, it seems most of the objections to Macaulay, no matter how couched, even when talking about his tone or writing, actually come down to not liking his opinions. I don't agree with most of them either. There are people with whom I disagree, but they teach me something, and people with whom I just disagree. With the latter, I just don't read them.

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Seriously, it seems most of the objections to Macaulay, no matter how couched, even when talking about his tone or writing, actually come down to not liking his opinions.

Maybe, but I'm not sure. The problem for me is not so much the content as the the tone. Snippy barbs, sarcasm and rudely expressed opinions turn me off - they sound like personal attacks, not criticism. I actually agree with some of Macauley's opinions but, for example, today when I read the unnecessarily snide remarks about Georgina Parkinson or Irina Dvorovenko (or talk about "hammy ritual") I simply put the paper down, having lost all respect for the writer.

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As far as costumes go..... come on.... what purpose do those ugly Star-Wars headpieces serve? The ones the female peasants in Act 1 wear. And the dresses on all the females in Act 1, including the pas de trois are much too long. Can't see enough of the dancing action. Meanwhile the male peasants wore tight shorts....Ugh.

I certainly noticed the bicycle shorts and that looked weird as hell. That sure crashes the illusion. But any lycra tights seem anachronistic to me. I also don't like long dressed and "thick" costumes on dancers because it hides their bodies and movements as opposed to revealing them. The very thin fabic such as Juliet wore for longish skirts sometimes even add something to the movement and don't conceal the legs. I think call dance costumes need to defer to movement.

My memory is failing, but I don't think this was exactly the same production as last year. I don't recall the star wars head gear SZ mentions from previous years... and I don't remember seeing the swan head dresses last night. If they were there I was not looking at their heads... or maybe I was lost in the entire illusion of a swan.

The illusion of illusion also depends on on deep your knowledge and experience are with a particular ballet and your expectations. I'm a novice ballet goer and have only seen the same ballet a few times at most... and except for Manon, separated by a year or many months at least. When you have a history with a ballet or any "experience" you see more, and certainly see more nuance.

This is what you more experienced people are for... to see things and point them out for those who not there yet... and that is why Ballettalk is such a valuable resource to anyone interested in ballet. Thanks again.

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And if I have to read any more references to Brits (Fonteyn, Markova, and Harold Bloom in this article, alone) I'm going to [figuratively] scream.

But that's Macaulay's background.... He does mention other dancers in the more recent past too....

Is that so awful? Perhaps he is in the early stages of trying-to-impress-NYC-readers-mode (and his bosses, editors) with his past knowledge(?) while at the same time absorbing the present state of the NYC ballet world...

Please, no more Rockwell *ballet* reviews.... yawn.

Macaulay, however pointed at times, is a big improvement.

He certainly has brought about much "debating" on this website(!).... and I can just imagine all the backstage talk... and that's important for the future of ballet, I think.

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And if I have to read any more references to Brits (Fonteyn, Markova, and Harold Bloom in this article, alone) I'm going to [figuratively] scream.

I share that sentiment except that Bloom is from the Bronx (although he does write about British literature).

Also want to point out that today's review of Monday's performance is really a double-whammy against Georgina: she performs (badly, according to AM) and also coaches the leads (to bad ends, again according to AM). All of which to say is that I think his criticism of the production in general (and, implicitly, ABT's artistic methods & choices) is well founded, even if the tone in re particular performers is questionable.

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I saw Dvorovenko's and Beloreskovsky's Swan Lake on Monday night. It was a wonderful performance overall. I watched McKenzie's production on PBS last year and wasn't impressed. Maybe it was Murphy's performance that turned me off, but Monday night was altogether different.

Dvorovenko is a glamorous beauty. Her Odette was regal, stoic and thankfully she didn't overdo the swan mannerisms of arm flapping, etc. I wanted more pathos from her Odette, but she was still beautiful to watch. It was as Odile where she really came into her own; from the moment she came onstage she owned the theatre. She looked stunning in her black tutu and headdress. She was also imperious, sexy and untouchable as ice with fabulous technique. It was no wonder that her husband looked intoxicated by her. What totally floored me were her fouettes. Apart from Plisetskaya and Terekhova, I've never seen a ballerina attack, and I mean attack, fouettes as Dvorovenko did. They were lightning fast, precise and breathtaking. Beloreskovsky performance was excellent. He's elegant, a fine partner, a solid technician and so handsome. What a gorgeous couple he and his wife make.

I liked the production overall, though Act IV was anticlimactic as usual. Like Amour, I enjoyed Yuriko in the Act I Pas de Trois. She has strong, lovely jumps and an appealing stage presence. I hope she goes on to continued success in her career. Hallberg was a good Von Rothbart even though I don't like his Russian Dance on principal.

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. What makes her great, he gets. To me the "if or how fouettees" is secondary for Odile (unless, of course they achieve classical purity, or joy of virtuosity--a la Murphy). What matters was her wild passion that would not stop powering up, no-matter-what.

I respectfully disagree that the fouettees were a dramatic choice (if that's what you mean). To me it looked like she starting turning with a lot of force hoping that she could muscle her way through, which is actually the only way to do it with Russian style fouettes. I looked at her ability to continue not as wild passion but as a dancer survival instinct; keep going no matter what. For me, as soon as she started I knew it was not likely to go well, so I forgot characterization and kept my fingers crossed!

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Tonight was Gillian Murphy's night. She was so amazing I could hardly believe what I was seeing! Her technique in the blac swan pdd -- oh my GOD -- the crowd went wild way before the final pose. Lots of triple fouettes and with her arms in fifth! Balances that seemed to last forever. And her Odette was heartbreaking, she was much more engaged than I've seen her before. It was truly a special performance. Wow.

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Tonight was Gillian Murphy's night-- oh my GOD -- !

I totally agree, Balanchinette! Murphy has just rocketed to the top of my must-see list. She's always been a joy to watch for her technique, but tonight she added two qualities I never expected to see in her, depth and lyricism! Thank you Gillian!!! And while I've seen her fouettes before and been dazzled, I've never seen ANYTHING like what she pulled off tonight! She perhaps overdid it -- let's call it fouette overkill -- and had to come out of it a tad early, perhaps due to the sheer excitement of what she'd pulled off. I know I could hardly breathe.

Both she and Hallberg pulled off final leaps so intense and high it was rather frightening. I was a little worried about how they would land and was relieved to see them looking just fine at the curtain call.

And oh, yeah... there were other people on stage too.

Let's see -- Jared Matthews as Benno, looking very confident, secure in his technique, and an attentive partner. Very good overall! A future prince?

Hee Seo in the pdt was wonderful, someone I look forward to seeing again. She is so crisp and smooth, finding her position easily and holding it like a rock. What I like most of all, though, are those fluid arms and flowing movement.

Sarah and Misty must be getting tired of doing those princess roles. I have concluded, however, that Misty has the most beautiful extension of anyone in the company.

Veronika Part looking very beautiful in her far-too-brief "big swan" role. Somehow she makes it heartbreaking.

What a night!

On to Paloma Herrera on Saturday night! I have avoided her over the past few seasons, annoyed with her lackadaisacal performances. She's gotten such good reviews this season, though, that I'm going to try her again. Murphy was the very model of a committed performer tonight, I only hope Paloma gives half as much.

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. What makes her great, he gets. To me the "if or how fouettees" is secondary for Odile (unless, of course they achieve classical purity, or joy of virtuosity--a la Murphy). What matters was her wild passion that would not stop powering up, no-matter-what.

I respectfully disagree that the fouettees were a dramatic choice (if that's what you mean). To me it looked like she starting turning with a lot of force hoping that she could muscle her way through, which is actually the only way to do it with Russian style fouettes. I looked at her ability to continue not as wild passion but as a dancer survival instinct; keep going no matter what. For me, as soon as she started I knew it was not likely to go well, so I forgot characterization and kept my fingers crossed!

I don't disagree at all with what you say. In rehearsal Vishneva (in cooperation with her partner) creates a whole dramatic arc for a given performance (and, as she often says, always rejects it as soon as the performance ends, and will start from scratch for the next performance)*. Whenever I've seen at least two of her performances of a given role this has been evident; I've certainly no reason to doubt what she says. In fact my favorite way of enjoying her work is trying to discover the arc she has created.

So I suppose that her approach to the fouettees for this particular Odile would be consistent with her story arc, and agree with you that it was not a dramatic choice for just the fouettees in isolation. As you say, she started turning with fearsome force (IMO consistent with her dramatic vision for this performance's Odile). From the way I've learned to see her performances, I appreciated her holding on to her dramatic intent (because that is what I was watching, it is how I enjoy her unique art), while I think you appreciated (from an actual dancing point of view) the survival realities involved in these fouettees. I think the "no matter what" is something we were both grateful for! Thanks for crossing your fingers, I just quit breathing. Whatever we can do to help! She is exciting, isn't she?

* She gives remarkably many interviews on what she does, her method. This one, at the end of her previous ABT season, gets nicely into these matters, partially in context of last summer's performances. Also includes a comparative analysis of the many versions of Swan Lake that she's danced. (I'm sorry that this is in Russian, but if you let both altavista and google translate it, and put them side by side, you can get a lot of the content.)

http://www.russian-bazaar.com/Article.aspx?ArticleID=8848

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