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Amy

What changes are required to the Mariinsky repertoire?

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Sadly Helene is right, but the flame still flickers at the Birmingham Royal Ballet, their recent revival of Helpmann's Miracle in the Gorbals showed that heritage still matters to David Bintley.

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I thought the Lavrosky version (which I saw the Bolshoi dance over a decade ago when they had it in their repertory) had many remarkable qualities it would be a shame to lose. I prefered it to Macmillan's which, like Helene, I find "mind numbingly" dull. If the Mariinsky can keep it alive, then they they should. I agree in that respect, too, with volcanohunter and Amy -- companies shouldn't just jettison their heritage. I do think that some Soviet ballet is part of the Mariinsky's heritage alongside nineteenth-century imperial Russian ballet which hardly comes down to us in un-Soviet-adulterated form.

Putting the original question a little differently: is the Lavrosky's creakiness really inevitable? Maybe, but maybe not with the right dancers and direction and I would want to hope the company could give it the attention it needed.

Atlanta ballet danced Maillot's last year and will dance it again this year. in my opinion, it was a good choice for the company--better than the company's previous R&J (by Michael Pink).

Yeah, some of the Soviet ballets are also part of the Mariinsky heritage and some of them are really lovely. I did enjoy Lavrovsky's R&J, although I can see why the British critics found fault with it - they also said it was the lead dancers who saved the version, so it's clearly thanks to the dancers that it goes well every time the Mariinsky performs it.

Maybe rather than replacing it altogether, someone could instead take a leaf out of Petipa's book and revive it? Make some changes in places where it does feel necessary?

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I don't think the Royal Ballet is staying true to its heritage: Ashton just about shriveled up and died there.

Maybe you're right - they do still dance his works, but even now, it's really difficult to get a proper hold of his style and technique.

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I love Shapchits, too! But she came in just as the "basketball player" aesthetic was taking hold at MT. Unfortunate. I wonder where she is now (somewhere in the West, I believe).

I believe she is teaching in Portugal now. She is known under her husbands' name (Irina Zavialova)

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Sadly Helene is right, but the flame still flickers at the Birmingham Royal Ballet, their recent revival of Helpmann's Miracle in the Gorbals showed that heritage still matters to David Bintley.

I was so interested to hear about that production -- we've lost so many ballets from that period, so it's particularly sweet when something is still in active repertory.

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I seem to have got rather lost where to post this link for "La Fille mal Gardee."

Here is a description of a performance which regrettably, I would not cross the road to see considering the casting for Widow Simone as a ridiculous giant.

Is it an abuse of power on Mr. Tsikaridze part?

http://izvestia.ru/news/578638

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I don't think the Royal Ballet is staying true to its heritage: Ashton just about shriveled up and died there.

I think many devotees of Sir Fred would agree.

More than once or twice we got into a discussion about a performance and he would get hold of my hand and slap it fairly gently as if I was a naughty boy and said, " It's too late for me to fight but I believe there will always be some colleagues who will continue to support my works and the best of the companies works which after all, it was my created works that fully established the company in a way that others couldn't quite achieve."

There were many who shed tears at his Westminster Abbey Memorial Service.

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Someone spotted Fateev at NYCB Harlequinade. May be he's interested in acquiring Balanchine's version or reviving Petipa's? Mariinsky acquired Ashton's Sylvia after he was spotted at ABT Sylvia.

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Someone spotted Fateev at NYCB Harlequinade. May be he's interested in acquiring Balanchine's version or reviving Petipa's? Mariinsky acquired Ashton's Sylvia after he was spotted at ABT Sylvia.

I doubt he would ever reconstruct Petipa's version of Harlequinade; he hates reconstructions!!!

Someone spotted Fateev at NYCB Harlequinade. May be he's interested in acquiring Balanchine's version or reviving Petipa's? Mariinsky acquired Ashton's Sylvia after he was spotted at ABT Sylvia.

Well, I won't hold my breath. :-) We were promised The Bronze Horseman and The Stoneflower for this season, but both of these have now been shelved...

Oh has he now? Should I be surprised? I'll say it now, I have no experience in directing a ballet company, but I know I would do such a better job at directing the Mariinsky.

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[Admin beanie on]

Please keep the conversation on a civil course.

[Admin beanie off]

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[Admin beanie on]

Please keep the conversation on a civil course.

[Admin beanie off]

Oh sorry, got a bit carried away... Lol!

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Someone spotted Fateev at NYCB Harlequinade. May be he's interested in acquiring Balanchine's version or reviving Petipa's? Mariinsky acquired Ashton's Sylvia after he was spotted at ABT Sylvia.

...or talent-spotting for guesting gigs. I was wondering if Bouder was going to see any extra action after her Benois nomination...and Peck gets a slew of press. Do you know who (Bouder or Peck) was perfoming?

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I don't know which performance he was spotted but the cast to watch was Bouder in Square Dance and Peck in Harlequinade. I can't imagine MB doing SD but H is definitely a good fit. I doubt he's scouting. May be he's in town inspecting/securing venue for next tour?

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I imagine the state the Russian economy is in makes them desperate for foreign currency, but if things get worse in Ukraine and sanctions get tougher it's not beyond the realms of possibility that Russian ballet companies will no longer be welcome.

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I imagine the state the Russian economy is in makes them desperate for foreign currency, but if things get worse in Ukraine and sanctions get tougher it's not beyond the realms of possibility that Russian ballet companies will no longer be welcome.

If the Ukraine crisis gets any worse, the whole thing could stir into a full scale war, possibly even World War 3! If that happens, so many Russians will be forced to flee their homes.

But surely the West wouldn't force ballet companies to stay away since they have nothing to do with all this...

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Cultural tourism was a highly nuanced thing during the Cold War (Naima Prevots book, "Dance for Export: Cultural Diplomacy and the Cold War," is an excellent look at the topic from the US perspective). If the political relationship between Russia and what still thinks of itself as The West returns to some form of that time, I wouldn't be at all surprised if we resumed the use of cultural institutions as propaganda/negotiating tools.

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And speaking of, has anyone here read "Dancers as Diplomats" by Clare Croft? I just got a flyer in the mail (the actual mail -- a real postcard!)

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Official news only (with source) for rep, casting, and other news.

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Is Wheeldon's Alice in Wonderland going to premier as planned? It's an odd fit to Mariinsky's reps.

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Is Wheeldon's Alice in Wonderland going to premier as planned? It's an odd fit to Mariinsky's reps.

Wheeldon's "Alice in Wonderland" was announced. However, like "The Bronze Horseman," it was set aside until further notice.

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It's one thing to have "controversy" about casting or even about productions (I certainly wouldn't have voted for Wheeldon's Alice myself) -- quite another and stranger thing to be announcing and un-announcing premiers all season. If it turns out everything was intended for the White Nights festival why not announce it that way originally? Even allowing for different 'cultural' norms it seems a very peculiar way to run a major arts operation. If someone has explanations that aren't just gossip or bashing (not that I'm entirely guiltless myself), they would be very welcome.

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