Buddy

Also, November 24, Leonid Sarafanov, "Swan Lake" and November 28,29, if you can handle two "La Sylphides", the beautiful Mikhailovsky Theatre, just off the main boulevard, the Prospect Nevsky, will be featuring Natalia Osipova and Ivan Vasiliev. I'm surprised that these aren't sold out. December 5 is Ekaterina Kondaurova, "Raymonda", at the Mariinsky. Maybe worth an extra week's stay and a 2,000 pound hotel bill to see.

"Has anyone been to the Mariinskiy Theatre for a ballet performance?" I can't resist. The what ? Yes, Eight Mariinsky Festivals in a row. I've always have had the good fortune to have Orchestra seats, but from my wandering the theatre and from what I've heard there isn't a bad seat in the house. (First couple rows center, though, you may get the conductor in your face.) It's not large, less than 2,000 seats(?), but if you're towards the back I would suggest using theatre glasses to maximize the experience. You can rent them at any coat check in the theatre for a very reasonable price. As for "La Sylphide", it's a sad one and I like "happy", but there were moments that still shine in my heart. The 'wandering' off stage of the Sylphs at the end touched me in a way that I'll never forget. You might also try for something a little cheerier. "Cinderella" across the street from the Mariinsky, November 27, at the Ballet theatre of St. Petersburg Conservatoire is a possibility.Tickets at its box office might be as low as 10 pounds. If the timing is right get to the Mariinsky about 30 minutes early and walk across the street to get tickets for this at the best possible price. Ticket to anything can be found by your hotel or the site below, but you may pay at least double. If you want to know more about any of this please post and I'll try to help. Take a look here. http://www.mariinsky...ybill/playbill/ http://www.balletand...30-Nov-2012#mo1 http://www.balletand...y_theatre=#play

If you're wondering why Viktoria Tereshkina, longtime Mariinsky principal, is included in a project to showcase young, new talent, she's a non-contestant partner. I believe that Ulyana Lopatkina will take her place in at least one future performance.

Here's Olga Smirnova and Vladislav Lantratov II and III.

Here's Olga Smirnova's (Bolshoi, Vaganova graduate) first performance (La Bayadere). She's only 20, one year out of school and quite mindboggling. Those at the Galina Ulanova gala in London last year would have gotten a glimpse of her. Her partner, Vladislav Lantratov (Bolshoi), isn't too bad either. They both received all 10's from the judges for this performance.

I've just watched parts of this, but I would guess that Olga Smirnova will walk away with an easy win. I personally like Christina Shapran (Vaganova grad now at the Stanislavsky). It seems from a quick internet translation posted that Diana Vishneva, one of the judges, likes her very much as well. The judges' scores are posted after each performance, "10" being the highest.

I saw all the "Viscera" performances when they premiered last January with the Miami City Ballet in West Palm Beach and I enjoyed them very much.

**** "Robert Cutietta, dean of USC's music school, who will head the new dance school, calls the gift one of the largest donations in the history of dance." **** From today's "Dance Links".... "University of Southern California to get endowed Dance School: Deborah Vankin, LA Times" "In the arts world, they call her [Glorya Kaufman] “the dancing philanthropist.” "Kaufman won't reveal the dollar amount of the gift — suffice to say it will surpass by far the $20 million she gave Los Angeles' Music Center.... " "We want to get the best students, the best teachers, and the kids, when they graduate, will be able to make a living right away.” " http://www.latimes.c...0,1709659.story

Balletco's own Oksana Khadarina has written a very fine review of the first performance. I actually attended all the original performances (Washington DC, 2005) at the very beginning of my ballet watching 'career'. I share many of Oksana's opinions. I feel that this ballet and Alexei Ratmansky's subsequent Bright Stream are very dependent for their success on the lead dancers, especially the ballerina. Cinderella was created for Diana Vishneva to perform and she did it brilliantly. I also believe, based on internet video clips, that Alina Somova could, in her own distinct way, be just as impressive. I'm very glad to hear good reports about Maria Shirinkina. She's a lyrical gem whom I've also seen turn into quite an impressive firecracker. Daria Pavlenko, as Cinderella, and her husband, Alexander Sergeyev, as the Prince, have received very fine internet praise as well. You have to love Daria Pavlenko for her heart and loveliness, both on stage and off. Her determination over the years has been heart touching. Alexander Sergeyev, everyone seems to agree, is a prince -- and a darn good dancer. Ekaterina Osmolkina, the other Cinderella, ran into injury problems early on, and had to be replaced by Maria Shirinkina, who once again showed that dancers are made of steel as well as heart. Here are some quotes from Oxana's article. I would definitely recommend this article for it's comprehensiveness, perception and sympathetic viewpoint. It's a very fine look at perhaps the greatest dance company in the world and one of today's best and most interesting lyrical/classical creators of dance. "Yet Ratmansky is at his most imaginative in creating steps for the leading couple. In their duets, the choreographer’s response to the music is natural and sensitive; each movement superbly illuminates the profound poignancy of Prokofiev’s score. As a result, Cinderella and her Prince are bestowed the most satisfying dancing of the evening, reminding the audience once and again of the exquisiteness and infinite possibilities of pure classical ballet. "On opening night, Maria Shirinkina was an ideal Cinderella. The young ballerina demonstrated a wonderful range of expression, establishing Cinderella’s character. She was utterly convincing, whether she was playing a gawky teenager or a young woman in love. Delightful and lively in her solos, she wonderfully conveyed the sweetness and girlish charm of her heroine. The boyishly handsome and technically assured Vladimir Shklyarov was her Prince. "It was an infinite pleasure to see these two beautiful dancers effortlessly conquering the ingenuities of Ratmansky’s choreography. There was an inescapable sense of joy and freedom about their performance. Together, they ultimately captured our hearts, creating the loveliest, most memorable moments of the ballet. http://www.dancetabs...lla-washington/

Thanks for this, John. Olga Smirnova - star of the 21st Century: Jim Lewis, New York Times Simply stated, just slightly a year out of school.... "Smirnova is better at ballet, and one day soon she may be the best." Along the road insight.... “I wasn’t prepared to make the move to Moscow; it was very unexpected,” she said. “As a matter of fact I was preparing myself for something much worse, getting used the idea that bad things might happen to you. It’s been quite the opposite.” How does she define herself in the world of ballet.... “As for myself, I have my own ballet idols, who I hope to become someday myself.” An example? “Diana Vishneva,” she said promptly, referring to the last Vaganova prodigy. “She is my favorite. But as a matter of fact you can always find something to learn from any ballerina."

Some nice insights into Svetlana Zakharova from Sunday. " Success, though, has not eradicated a persistent grain of self-doubt. Even now, as she enters her 15th year as a professional dancer, Zakharova still regards herself, for the most part, as a student. "When I'm in rehearsal I always feel like I'm a pupil -- and not at all a ballerina" she reveals. Indeed, it's only in those comparatively brief moments on stage that Zakharova says she truly believes in herself as a performer. http://edition.cnn.c...rss_mostpopular "This transformation is unique," she explains. "Something from within takes place and you understand sometimes that human abilities are limitless. During the performance you do such things which you completely did not expect from yourself." (I've more than once seen a remarkable 'Svetlana' on stage that I never would have anticipated.) (And thanks, Bruce, for your optimistic "Reflections on Tamara Rojo’s first ENB season")

Hooray, Clement !

In regard to Judith Mackrell's (Guardian) mention of Akram Khan's Olympics presence I would like to suggest that if anyone could put 'celestial explosion' on the map give Carlos Acosta performing "Russell Maliphant II" a try. Then maybe add Sylvie Guillem's "Bolero". By the way, is Dance an Olympics event? If not, maybe it wouldn't be a bad idea.

Thanks very much, Arky. I guess that Sylvie Guillem is much more upfront in the UK consciousness that in the US where I come from. I, for one, have not followed her very closely since I've never had a chance to see her perform. She still seems to have a wide following in France based on the ballet internet interest that I've noticed. I've seen a few video clips of her doing classical works and I've been very impressed, but I've never watched them carefully. There is so much great talent that it can't all be appreciated as much as it should be. About two weeks ago I happened to watch an internet video clip of her dancing Maurice Bejart's "Bolero". I'd just seen his own company perform it -- but not like this! Wow! She immediately went on my list (subject to constant revision) as one of the best dancers ever! I'm still a fan of the more lyrically graceful school of dance, in the same way that Simon and Garfunkel remain one of my favorite 'rock' groups, but the way that she can burn up a stage is amazing. I posted this comment here before at another topic, but it so well seems to describe her that I would like to post it again. "Sylvie Guillem is the archetype for today’s tall, super-flexible ballerinas. She, too, was cold. In fact she struck me as a frigid supermodel, dancing Nikiya when she first guested with ABT at the Met long ago. But her physical and auric presence were mesmerizing. My friend watching with me said, “I pity anyone who shares the stage with her.” The force of her will and intelligence — manifested in how she shaped her body, extended balances, and the arc of her performance — drew in the audience. Her “Giselle” was a statuesque Wonder Woman (she adjusted the choreography in Act II). Not for a moment did I believe her as a frail peasant who needed a man (or anyone, for that matter) to validate her. She’s cold but she pierces your mind and more, if not your heart. One cannot help but admire her controversial genius." (comment by Richard) http://www.artsjournal.com/tobias/2012/06/swans.html

Thanks, lbeard. I'm an l"beard" too. My stepmother was an agent's secretary in Beverly Hills. Fred Astaire used to stop by the office on the way to seeing his agent. She had a few cute stories. She also was a rather attractive woman. I can guess one of the reasons why he dropped in.

From Yesterday. The Astaires, Fred & Adele, by Kathleen Riley: Kathryn Hughes, Guardian "The Astaires together laid down a library of beats, taps and turns from which Fred would go on to make some of the most sublime physical art of the 20th century." "Their big break came in 1923 when they appeared in Stop Flirting on Shaftesbury Avenue." (This I never knew.) And an interesting questioning of what really went on anywhere in the world of theater before the arrival of movie film. "That Adele and Fred were able to do this by the time they were barely out of their teens was all down to their extraordinary art. But what that art was exactly is hard to know.... "You can quote from the critics, you can scour letters and diaries for the reactions of people who were in the audience, but you will always be left with a gap, an absence at the heart of your story. Just what it was that made Adele quite so extraordinary will never, finally, quite be clear. All we have is what came after, those amazing recorded performances of her brother making magic with other female dancers."

Interestingly, I found this in the June 30 review of ABT by Tobi Tobias. It's a response to her article by "Richard" towards the bottom of the page. I couldn't let it pass by. "Sylvie Guillem is the archetype for today’s tall, super-flexible ballerinas. She, too, was cold. In fact she struck me as a frigid supermodel, dancing Nikiya when she first guested with ABT at the Met long ago. But her physical and auric presence were mesmerizing. My friend watching with me said, “I pity anyone who shares the stage with her.” The force of her will and intelligence — manifested in how she shaped her body, extended balances, and the arc of her performance — drew in the audience. Her “Giselle” was a statuesque Wonder Woman (she adjusted the choreography in Act II). Not for a moment did I believe her as a frail peasant who needed a man (or anyone, for that matter) to validate her. She’s cold but she pierces your mind and more, if not your heart. One cannot help but admire her controversial genius." http://www.artsjourn...2/06/swans.html

"Savion Glover takes on Fred Astaire": Judith Mackrell. Thanks, John. Interesting article. Fred Astaire certainly blurred boundaries. He was a show dancer, who combined street dance tap with the grace of a ballet dancer. George Balanchine, who ignored boundaries as well, considered Fred Astaire to be the finest male dancer. Savion Glover, also an amazement, continues to move on. With the great physical demands that ballet can place on a dancer's body, Savion Glover, claims that he can dance for hours and not even get a blister. Apples and oranges, perhaps, but certainly something to think about. The comparison is interesting and there are some nice video clips here.

In August of 2007 at *Balletco* Jeffery Taylor invented using the term "A Force of Nature" in reference to Natalia Osipova. (first paragraph) http://www.ballet.co...lia_osipova.htm It's obviously caught on and 'quite rightly so' ! I've see it all over the place. I've used it myself several times in regard to Natalia Osipova. The expresion has now branched out. Alastair Macaulay has titled his most recent review, of American Ballet Theater’s ‘Dream’ and ‘Firebird’ -- "In the Air and on the Ground, a Force of Nature in Ashton’s Fairyland" Jeffery, if you're here, please identify yourself and take a well deserved bow !

Indeed ! Something to "crow" about. And "What a gorgeous [precious] thing" She Is !

Great to see The Chickens clapping as well. They always make me smile. Good one, Sir Frederick William Mallandaine Ashton !

Great News ! Félicitations !

As reported by at least two other sites Yekaterina Kondaurova is now a Mariinsky Principal. Поздравляю ! Congratulations ! http://www.mariinsky.ru/en/company/ballet/troupe/

Su, I'm surprised how much the ticket company that I posted is asking for the Conservatoire. At that price you may want to still consider the Hermitage. If you aren't that concerned about seeing any of these available ballet performances you might want to get to the Mariinsky a half hour earlier and walk across the street to the Conservatoire to see if their ticket box is open, if seats are available for your night and if the price is much more reasonable. I'm sure that I didn't pay more than 15 pounds for the "Swan Lake", on the ground floor, that I saw there about five years ago. Sometimes, though, as a traveller it's just easier to pay the extra money. I'm hopeful that you would see an equally pleasant performance at either of these theatres. LIke Glowlight I would definitely recommend seeing the Hermitage Museum of Art. The Rembrandts (many), the Leonardo da Vincis (two), a small, but fascinating Michelangelo statue (all somewhat together at the back, downstairs) and the French Impressionist/Post Impressionist/Modern (all in same area, towards the front, upstairs) are the usually recommended highlights and I would thoroughly agree. Since this was the former royal palace you will also see beautiful decoration everywhere. It's a huge place, so allow plenty of time to find your way around. Have a wonderful trip !

Su, I just did a quick internet check for July, 2012 and the Mariinsky will have various performances until July 14. The Mikhailovsky will have the same during the entire month. I would normally highly recommend the Mariinsky, but the Mikhailovsky now has a few of the biggest names in the world (Osipova, Vasiliev, Sarafanov, Semionova (I don't know when she starts)), so if you have time to check casting this might make a difference. Here is a good site to see what's going on. They do give some casting, but casting can change. They already have the Mikhailovsky casting. To see the top Mikhailovsky dancers you may want to get tickets as soon as possible. I wanted to see Perrin and Sarafanov in March, but the tickets were sold out almost two months in advance.This is a private ticketing company. It seems good, but might charge up to 50% more than the ballet companies' own sites, which I would recommend, if you have the time. They are fairly easy to use. http://www.balletand...ay_type_2=2#mo1