The Mariinsky Ballet - Jewels - Los Angeles' Dorothy Chandler Pavilion

[Syzygy]

Just bought tickets to see Mariinsky in Jewels. The cast I’ll be seeing is:

 

Emeralds: Daria Ionova, Maxim Zyuzin

Rubies: Renata Shakirova, Kimin Kim, Ekaterina Chebykina

Diamonds: Maria Khoreva, Timur Askerova

 

I’m especially excited to see Maria Khoreva in person (I never have, but know she’s been extremely hyped up by the Mariinsky staff -- if not by everyone on this forum.) 

[Drew]

4 hours ago, Syzygy said:

Just bought tickets to see Mariinsky in Jewels. The cast I’ll be seeing is:

 

Emeralds: Daria Ionova, Maxim Zyuzin

Rubies: Renata Shakirova, Kimin Kim, Ekaterina Chebykina

Diamonds: Maria Khoreva, Timur Askerova

 

I’m especially excited to see Maria Khoreva in person (I never have, but know she’s been extremely hyped up by the Mariinsky staff -- if not by everyone on this forum.) 

I look forward to reading your thoughts on the performance!

[cubanmiamiboy]

I've never seen the Mariinsky's  Jewels, but I saw the Bolshoi on it, and didn't like it too much. The tempi was EXCRUCIATINGLY slow, particularly in Diamonds. I think they have a tendency to over do Diamonds, with the mold of Lopatkina in a sort of "Odettesque" feeling in the pdd. I know Khoreva is not very much liked here, but I did like her in Paquita. She certainly doesn't fit the elongated, aloof ice princess so favored by many, but she could be interesting in this role, in an atypical way. Please report back.

Edited October 23, 2019 by cubanmiamiboy

[abatt]

I have a question about the Mariinsky's performance of Emeralds.  I see in the casting that only two leads are listed for that ballet.  Does the company omit the section that Balanchine added to 'Emeralds' in 1976 = an extra duet and a septet that ends with three men each sinking poetically to one knee.   I know that they omitted that section when the Mariinsky (Kirov) toured their Jewels in the US in the arly 2000's (around 2002).  Do they continue to omit the 1976 additional choreography?

[mussel]

4 hours ago, abatt said:

I have a question about the Mariinsky's performance of Emeralds.  I see in the casting that only two leads are listed for that ballet.  Does the company omit the section that Balanchine added to 'Emeralds' in 1976 = an extra duet and a septet that ends with three men each sinking poetically to one knee.   I know that they omitted that section when the Mariinsky (Kirov) toured their Jewels in the US in the arly 2000's (around 2002).  Do they continue to omit the 1976 additional choreography?

Are the referring the "walking" pdd? It's not omitted, but the last movement is.

[Jack Reed]

I'm curious, mussel, how about that added duet, and the order of the second and third numbers, the two ballerina variations?  Originally, as you probably know, Verdy led the ensemble first number, then Paul had  a variation, then Verdy had her "Spinner" variation as the third number.  When she retired and Balanchine added the concluding septet, he also put "Spinner" second and the Paul variation as the third number.  So I'm wondering how closely Mariinsky sticks to the original sequence (which of course included the remarkable "walking" pdd), which sequence I prefer - when adequate dancers are available.  (Edward Villella had Mary Carmen Catoya in his MCB year ago, who, coached by Verdy, danced Verdy's part so well I thought he could have restored the original sequence, but he didn't.)  Personally, I'm encouraged that they have dropped the septet.

[mussel]

2 hours ago, Jack Reed said:

I'm curious, mussel, how about that added duet, and the order of the second and third numbers, the two ballerina variations?  Originally, as you probably know, Verdy led the ensemble first number, then Paul had  a variation, then Verdy had her "Spinner" variation as the third number.  When she retired and Balanchine added the concluding septet, he also put "Spinner" second and the Paul variation as the third number.  So I'm wondering how closely Mariinsky sticks to the original sequence (which of course included the remarkable "walking" pdd), which sequence I prefer - when adequate dancers are available.  (Edward Villella had Mary Carmen Catoya in his MCB year ago, who, coached by Verdy, danced Verdy's part so well I thought he could have restored the original sequence, but he didn't.)  Personally, I'm encouraged that they have dropped the septet.

Mariinsky Emeralds sequence

1st Movement: Verdy ensemble

2nd:  Verdy solo

3rd: Paul solo

4th: Pas de Trois

5th: Verdy pdd

6th: Paul pdd

7th: Ensemble

8th: omitted

Why do you prefer the septet to be dropped?

 

Edited October 24, 2019 by mussel

[naomikage]

The whole stream of Vienna State Ballet's World Ballet Day is dedicated to the rehearsal of Emeralds, coached by Ben Huys. I think it includes the Walking pdd. 

 

[Josette]

Thanks so much for posting the beautiful rehearsal by Vienna State Ballet of Emeralds, Naomikage. 

[ECat]

It was a magical evening last night at the Music Center watching Mariinsky perform Jewels.  

Here is a summary of the beauty that I witnessed:

The curtain opened on Emeralds to a beautiful dreamy scene of soft shimmering green hues, the lovely corps, and the first couple Daria Ionova and Maxim Zyuzin.  Maxim was a stable and handsome partner for Daria who was magnificent.  She used her port de bras so beautifully.  In fact at the intermission my husband, who is no ballet expert at all, mentioned that the Mariinsky dancers use their arms/hands/wrists differently than the American dancers we see.  I was impressed by his observations as the Russians tend to start the movements from their thoracic spinal areas and it truly is beautiful.  It may not be pure Balanchine but it was lovely to see.

Maria Iliushkina and Roman Belyakov were the second couple.  There is another thread just about Maria and her bright future and from this performance, I agree.  First of all she has a beautiful face - almost doll like.  She was almost floating during her walking pas de deux and was so expressive in her variation.  She melted into to some of those poses so beautifully.

The pas de trois was excellent with 3 fantastic dancers.  Mai Nagahisa (who always catches the eye of myself and my husband), Laura Fernandez, and David Zaleyev.  They were a spirited and light trio full of energy and perfect technique.

The corps and all of the dancers seemed very well rehearsed.  Maria seemed to be the crowd favorite of this one.  it was a great start to the evening!

Rubies was my favorite.  Nadezhda Batoeva and Philipp Stepin blew me away!  They showed nuances that I had never noticed before in this ballet.  They were having a great time, the tricky partnering looked like a walk in the park, and they sparkled!  Hopefully they both will be promoted to principal during their careers as they are deserving.  Maria Bulanova as the Tall Girl was sensual and powerful.  She seemed relaxed during the penchee section as she exits the stage.  This ballet was the highlight of the evening for me as it was fun, surprising, and risky.  There was only one mistake in the whole evening and it was during the section with the man and the 4 corps men as they sautee quickly.  One corps man didn't get to the sautee fast enough but it was hardly noticeable.

Ah - the splendor that is Ekaterina Kondaurova!  She did not disappoint at all.  She was regal, elegant, haughty, and gorgeous.  Andrei Yermakov was her partner.  He was great in his solo sections with his menage of jumps and turns in second.  The corps de ballet was radiant.

A magical evening indeed!!!

[Syzygy]

There’s a wonderful clip of Violette Verdy coaching Pacific Northwest Ballet in Emeralds in which she emphasizes that, in the “bracelet” variation, “you don’t do it to your arms, your arms do it to you.” In an otherwise very pretty rendition of Emeralds by the Mariinsky yesterday, Yana Seline (corps, filling in for Daria Ionova) moved her arms, they didn’t move her. The only other “offensive” bit* might have been that Xenia Fateeva fell off pointe in the bourrees twice during her solos (the second time there was an audible “ugh” by the man to my left), but to me, she was the highlight. All grace and “perfume.” For the record, I love when dancers fall. I’d rather see someone really go for it than play it safe.  

Speaking of falling: Rubies. Renata Shakirova and Kimin Kim were about ten seconds into their entrance when Shakirova wiped out in the most dramatic splits that got an audible gasp! from the entire audience. Jazzy splits! It was amazing, and if Mr. B. were around I’m sure he would include it in the choreography. She wasn’t hurt, and got right back up, high-fived Kimin (that was part of the choreography), and finished the ballet excellently. Each battement was to her head, she was fun without cheesing to make up for the fall, and most importantly she wasn’t sulking after an inevitable mistake like *cough cough* certain American ballerinas that are very popular on this board. Ekaterina Chebykina also fell in the last five counts as the tall girl during the finale. How exciting! Both were wonderful, both were good sports.  

Diamonds. I’ve been looking forward to seeing Maria Khoreva in person, and she did not disappoint. She was absolutely beautiful in every way. For those of you wondering about tempo, while the adagio wasn’t the slowest I’ve seen (Het National made Mariinsky’s Adiagio tempo look downright American) it certainly could have been altered for the finale. Maria Khoreva was almost perfection, but the only time she showed her age was in the VERY SLOW coda, when she did a tight, cautions in the ménage. I'm sure she and her coaches have the ability to correct it. Otherwise, I only have positive things to say about her and her partner, Timur Askerov. 

The corps in every movement: Clean and in-line. No NYCB in terms of movement quality, but neater.  

*Actually the most offensive part of the performance was the audience. I’m still new-ish to L.A. — can someone tell me how it works here? At the Dorothy Chandler Pavilion you’re allowed to bring drinks and snacks into the theater. That’s fine, I enjoy sparkling wine at 2pm as much as the next person. But they also sell bags of potato chips that the audience will open and consume during the show. In Emeralds, I could hardly hear the music over a woman clad in a set of many small, noisy bangles opening a bags of chips, then: CHOMP CHOMP CHOMP CHOMP CHOMP. This is the second ballet at Dorothy Chandler I’ve gone to where this has happened. Last year at Miami City Ballet’s Nutcracker, after intermission the family directly behind me came back from intermission with bags of potato chips and spent the first half of the second act squeeeeeaking the bags open before CHOMP CHOMP CHOMP CHOMP CHOMP. I asked them to stop and my partner (someone who did not grow up going to the theater) snapped at me for telling the mother that her kids shouldn’t rustle plastic during a show. Am I crazy?

[ECat]

28 minutes ago, Syzygy said:

There’s a wonderful clip of Violette Verdy coaching Pacific Northwest Ballet in Emeralds in which she emphasizes that, in the “bracelet” variation, “you don’t do it to your arms, your arms do it to you.” In an otherwise very pretty rendition of Emeralds by the Mariinsky yesterday, Yana Seline (corps, filling in for Daria Ionova) moved her arms, they didn’t move her. The only other “offensive” bit* might have been that Xenia Fateeva fell off pointe in the bourrees twice during her solos (the second time there was an audible “ugh” by the man to my left), but to me, she was the highlight. All grace and “perfume.” For the record, I love when dancers fall. I’d rather see someone really go for it than play it safe.  

Speaking of falling: Rubies. Renata Shakirova and Kimin Kim were about ten seconds into their entrance when Shakirova wiped out in the most dramatic splits that got an audible gasp! from the entire audience. Jazzy splits! It was amazing, and if Mr. B. were around I’m sure he would include it in the choreography. She wasn’t hurt, and got right back up, high-fived Kimin (that was part of the choreography), and finished the ballet excellently. Each battement was to her head, she was fun without cheesing to make up for the fall, and most importantly she wasn’t sulking after an inevitable mistake like *cough cough* certain American ballerinas that are very popular on this board. Ekaterina Chebykina also fell in the last five counts as the tall girl during the finale. How exciting! Both were wonderful, both were good sports.  

Diamonds. I’ve been looking forward to seeing Maria Khoreva in person, and she did not disappoint. She was absolutely beautiful in every way. For those of you wondering about tempo, while the adagio wasn’t the slowest I’ve seen (Het National made Mariinsky’s Adiagio tempo look downright American) it certainly could have been altered for the finale. Maria Khoreva was almost perfection, but the only time she showed her age was in the VERY SLOW coda, when she did a tight, cautions in the ménage. I'm sure she and her coaches have the ability to correct it. Otherwise, I only have positive things to say about her and her partner, Timur Askerov. 

The corps in every movement: Clean and in-line. No NYCB in terms of movement quality, but neater.  

*Actually the most offensive part of the performance was the audience. I’m still new-ish to L.A. — can someone tell me how it works here? At the Dorothy Chandler Pavilion you’re allowed to bring drinks and snacks into the theater. That’s fine, I enjoy sparkling wine at 2pm as much as the next person. But they also sell bags of potato chips that the audience will open and consume during the show. In Emeralds, I could hardly hear the music over a woman clad in a set of many small, noisy bangles opening a bags of chips, then: CHOMP CHOMP CHOMP CHOMP CHOMP. This is the second ballet at Dorothy Chandler I’ve gone to where this has happened. Last year at Miami City Ballet’s Nutcracker, after intermission the family directly behind me came back from intermission with bags of potato chips and spent the first half of the second act squeeeeeaking the bags open before CHOMP CHOMP CHOMP CHOMP CHOMP. I asked them to stop and my partner (someone who did not grow up going to the theater) snapped at me for telling the mother that her kids shouldn’t rustle plastic during a show. Am I crazy?

First of all, thank you for the review of the cast you saw.  It sounds like it was fantastic.  In terms of the chomping that would have gotten me upset as well.  You're not crazy.  I did not know that food was allowed in the theatre and would have thought that that was against the policy.  I'm sorry that you had that experience.