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Bolshoi Ballet in Cinema 2018-2019

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Bolshoi announced plans for Bolshoi Ballet in Cinema 2018-19.  All fairly predictable but Petrushka!?!

November 11, 2018 
LA SYLPHIDE (new)

December 2, 2018 
DON QUIXOTE (repeat)

December 23, 2018 
THE NUTCRACKER 

January 20, 2019 
LA BAYADERE (new)

March 10, 2019 
THE SLEEPING BEAUTY (repeat)

April 7, 2019 
THE GOLDEN AGE 

May 19, 2019 
CARMEN SUITE (new)
PETRUSHKA
 (new)

 

 

 

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Thank you. So the Grigorovich Bayadere from the early 1990s is being replaced, perhaps by a long-awaited Ratmansky reconstruction (or am I mixing this up with a reconstruction in Berlin)?

I recall Fokine’s  Petroushka danced by the Bolshoi at least 30 years ago, so it’s not new, unless it’s a completely different staging.

Edited by CharlieH

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The Ratmansky reconstruction is for Berlin. Don’t know what ‘new’ means in posting above or indeed if it does not just mean new broadcast.

But if it were to happen, then I would pay money to be in the room when Ratmansky instructed the Bolshoi dancers not to lift their feet higher than their waists when dancing Petipa...

Edited by Drew
grammar/spelling

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"New" means live, as opposed to recorded during a previous season, such Don Quixote, Sleeping Beauty and The Golden Age. The current production of La Bayadère is only five years old, Vaziev seems to like it, because he puts it on stage more often than Giselle, Sleeping Beauty or Swan Lake, and there's absolutely no indication it will be replaced any time soon.

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I suspect that Petrushka will be not Fokine’s but Varnava’s version.

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14 hours ago, Drew said:

The Ratmansky reconstruction is for Berlin. Don’t know what ‘new’ means in posting above or indeed if it does not just mean new broadcast.

But if it were to happen, then I would pay money to be in the room when Ratmansky instructed the Bolshoi dancers not to life their feet higher than their waists when dancing Petipa...

I love Bayadere and would like to see what Ratmansky does with it. I have a terrible feeling, though, that he'll bring back the black-face. In an interview several years back, he expressed bewilderment that black-face is a no-no in the US. 

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14 hours ago, volcanohunter said:

"New" means live, as opposed to recorded during a previous season, such Don Quixote, Sleeping Beauty and The Golden Age. The current production of La Bayadère is only five years old, Vaziev seems to like it, because he puts it on stage more often than Giselle, Sleeping Beauty or Swan Lake, and there's absolutely no indication it will be replaced any time soon.

"New" in this case actually means NEW when it comes to Petrushka. It will be a premiere by Edward Clug. As far as Bayadere goes, this is the usual version and not Ratmansky, it will be live with a different cast than the last time it was presented in 2013.

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I wouldn't say they cannot dance contemporary. They don't have as many opportunities to dance it, which is why sometimes it looks slightly awkward on them. I think it is a good thing that they are trying new work, rather than continuously performing the classics.  

Regarding Etudes - for the broadcast they only had about 3 weeks to prepare for that behemoth of a classical work, which is nowhere near the necessary amount, and their premiere of it was the broadcast. They don't usually broadcast the premiere evening but if you remember there were changes in the programming at the last minute due to rights issues and dates of broadcasts cannot be changed so they had to make it fit somehow. They have since improved a great deal on Etudes. Same with The Cage - casting was done in a hurry and they just didn't have the necessary time for rehearsals unfortunately. 

Edited by DD6948

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2 hours ago, Gnossie said:

but who will get Carmen? La Sylphide? 😲

I'd guess Carmen is Zakharova's, if she wants it. I mean, they have to put her something.

If she doesn't fall over in Flames of Paris, perhaps Sylphide will go to Shrainer. That would be Vaziev's style.

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Following this season's multiple successful Carmen debuts Vaziev's choices include Krysanova, Nikulina, Shipulina, Smirnova, and Stepanova in addition to Zakharhova.  I would bet on Smirnova or Stepanova based on (informal) reviews of their debuts, with Smirnova being the more likely choice.  There is always Nikulina, however, who seems to have a lot of backing at the moment in spite of lukewarm responses to her debut. 

Candidates for Nikiya currently include Krysanova, Nikulina, Obraztsova, Smirnova, Stepanova and Zakharova.  Again, I think Smirnova or Stepanova (the latter the more likely choice) or a dark horse like Kovalyova, who is no doubt preparing the role.  Current Gamzatti possibilities include Kretova, Krysanova, Marchenkova, Shipulina, Tikhomirova or Zhiganshina.  Kretova is probably the most likely choice, although if Nikiya is Kovyalova, Vaziev might well choose another newbie for Gamzatti. Eight performances are scheduled for this spring and summer, and no doubt many debuts that will give us a better picture.

 

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Drew,

I think that there would be plenty of people who would love to see the Bolshoi's reaction to the news that they would be dancing a Ratmansky reconstruction of La Bayadere. But I can't make up my mind about what would cause the company greatest consternation, whether it would be the news that everyone would be dancing in period appropriate style with low extensions, the loss of Solor's Soviet style choreography, the loss of the  Golden Idol, the full restoration of mime sequences or the news that everything was to be performed at the tempo indicated in the score ?

Edited by Ashton Fan

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I'm sorry but I really don't care for the Grigorovich version in this staging. The baby poo yellow gets to me every time.  

Regarding tempi, I much prefer e.g. Lopatkina's more lyrical dancing of this role (as compared to Maria Alexandrova in this clip) and actually have no problem with her taking slower tempi since she is taller and more of an adagio specialist.  The slower friend of Raymonda version just looks weirdly hurried to me in the Bolshoi version, since I'm used to the Mariinsky version. If danced with great skill (as by the 18 year old Lopatkina or Daria Vasnetsova or Stepanova), the slower tempo and more difficult choreography of the Mariinsky version can be exquisite.   As to the allegro friend of Raymonda variation, there are videos of Batoeva dancing it every bit as fast as whoever that is dancing it in this video so I guess I don't understand the criticism.  

I don't see a problem with higher extensions per se.  But then, I'm not a purist, obviously. :)

 

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I consider Ratmansky's  Corsaire to be neither a failure nor a travesty.

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In the Copellia trailer seen today during the Flames of Paris broadcast it looks like Anastasia Staskevich in the leading role.  Not that that will necessarily happen but it's an indication.

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On 5/15/2018 at 11:19 PM, Gnossie said:

Ovcharenko and Shrainer will lead the cast of Coppelia for cinema broadcast.

 

 

A disgrace.

Where did you see this posted?

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3 minutes ago, Quinten said:

http://evgeniaobraztsova.com

What might have been.  

He looks waaaaay too young for her. I think the age gap between David and Genia doesn't make it believable.

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Just now, DD6948 said:

He looks waaaaay too young for her. I think the age gap between David and Genia doesn't make it believable.

I didn't mean David 😊.  

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Just now, Quinten said:

I didn't mean David 😊.  

It's true, Genia will be lovely in this role, and it will be her first time performing it I believe?

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Posted (edited)

After watching the broadcast, I was very happy that I saved my hard earned cash and did not spend over a hundred dollars to see it in person. The whole ballet is not a very exciting one to begin with, there is no drama to feel along with, and for a light-hearted comedic spectacle it is neither particularly funny, nor very entertaining. To give credit to the production, the sets and costumes are well made and the choreography is intricate. Too bad that the protagonists focused so much on executing the steps to the detriment of their delivery, so their performance lacked the sparkle and dazzle that was necessary there. Not to disrespect Shrayner, but the difference between her and a big time ballerina like Evgeniya Obraztsova is exactly that: she does not have the same stage presence and natural charisma that makes a prima stand out and dazzle an audience. Instead, Rita looked like a school girl who had successfully passed an exam and felt relieved that about not getting shouted at by her parents at home. I thought that Artem Ovcharenko was holding his emotions back behind a plastered smile, dancing almost mundanely, as if performing a chore. In this Coppelia he lost a comparison to himself in Maillot's Nutcracker which was broadcast on Mezzo TV on the same evening.

And the four soloists looked decidedly average, each in her own way. Anastasia Denisova, who I regard as one of the most beautiful girls in the world ballet, was tentative and unsure, slurring many of her steps and movements. I really like her, but a dancer's good looks can only take one so far. Kruteleva is known for her a nice jump and energy, but to my taste her lines and movements lack refinement. Chapkina showed limited musicality, compensated for with plentiful vulgarity and unsighly positioning. It is such a shame when a dancer is gifted with wonderful physique that goes to waste because of lack of schooling and good taste. Out of the four, only Daria Bochkova displayed a Bolshoi-worthy combination of skill and expressiveness, to me she is one of the most solid performers of solo roles in Bolshoi's CdB today.

Overall, I thought this was an unremarkable production and performance, and I am glad to have been able to check this box for free and move on to more interesting things.

Edited by Fleurdelis
typos

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Posted (edited)

Saw this at my local cinema yesterday. Vikharev’s production remains one of the most exquisite Coppelias around, along with NYCB’s Balanchine version. Alas, ITA with Fleurdelis about Schrainer’s underwhelming performance. She comes across as a guffawing novice with minimal finesse. Nothing like the true ballerinas who I saw live in this production a few years ago: Osipova, Alexandrova, Kaptsova. Neither is Ovcharenko up to his usual good performance. The A3 soloists were just ok. 

Edited by CharlieH

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Choreographically, "Coppélia" of Marius Petipa leaves little doubt that it is inferior to that of Saint-Léon's, if Sergueï Vikharev faithfully restored it from the notation; there was quite a bit of talk about it in the corridors of the recent Moscow Petipa conference.

Margaux Shrainer was, in my eyes, an ideal Swanilda, fresh, youthful, light, and bright as sun light. I saw all four casts over the last couple of weeks, Shrainer twice, and Shrainer turned out to be the best choice overall. I don't also recall seeing Artem Ovcharenko in a better form recently, and he was a good match for Margaux. Hardly anybody disappointed. A lovely performance of a light, entertaining ballet whose choreography could have more finesse.

Heavyweights Osipova, Alexandrova as Swanilda ?? Well, this ballet is about something entirely different.

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Casting for Bolshoi Ballet's cinema relay La Sylphide

https://www.bolshoi.ru/en/performances/234/roles/#20181111180000

Sylph    Anastasia Stashkevich
James    Semyon Chudin
Madge, witch    Anna Balukova
Effie, James' fiancee    Xenia Zhiganshina
Gurn    Artur Mkrtchyan
Anna, James' mother    Vera Borisenkova
Two Friends    Mark Chino, Oscar Frame
Pas de six    Bruna Cantanhede Gaglianone. Elizaveta Kruteleva, Stanislava Postnova
Anton Gaynutdinov, Alexei Gaynutdinov, Alexei Putintsev

Old Musician    Egor Simachev
The First Sylph    Daria Khokhlova
Two Sylphs    Anastasia Denisova, Elizaveta Kruteleva

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