Buddy

Yes, lyrics worth thinking about, Bangorballetboy. Thanks, everyone, for the other insights.

I didn't know that Taylor Swift was a ballerina, but how wrong I was ! https://www.youtube.com/watch?v=nfWlot6h_JM

While not normally my 'cup of tea', I do tend to like this one. I'm usually ballerina-centric in a work such as this, but when a male dancer can produce something genuinely from his 'soul,' well....

Thank you, Annamk, for your response. I do agree with you about Olga Smirnova. She is special. She has Mariinsky grace from her Vaganova schooling, Bolshoi dramatic prowess and her own high intelligence and ability. With these she’s created a very personal and distinct presence. You described her as having a “general luminosity”. I do agree. I also feel that she has a presence that encompasses you, that penetrates, illuminates and radiates. In addition, I feel that ballet artists from Russia and ballet cultures influenced by Russian ballet have something special, overall. Ballet just seems natural to them. Someone else that you might want to keep an eye on is the Bolshoi’s very young Eva Sergeyenkova. She’s quite amazing, especially for her age, and she has a power of expression which can deeply touch you, similar to how Olga Smirnova can touch you. She was given Swan Lake this year while still in the Corps de Ballet. Olga Smirnova developed very fine expressive qualities after joining the Bolshoi. The young Eva Sergeyenkova has always been with the Bolshoi. Her expressive abilities are already extremely interesting, varied and will probably develop greatly. Olga Smirnova has now moved into yet another realm of artistry, ‘Western’ expression. I feel that once again she will develop a totally one of a kind and totally brilliant artistic presence. I mentioned in my previous post that the ballet forum from Russia is very interested in the changes made to the story of Raymonda. This seems absolutely fine. I, on the other hand, like you, Annamk, relate more to the remarkable quality of performance that is associated with ballet artistry from Russia.

It’s been noted on the internet forum from Russia that credit wasn’t given to the person that wrote the review that I first quoted above which was originally posted in russian. I don’t know how to contact the forum or the person who made this observation, but I would like to state something. Because of some of the current laws in Russia concerning topics of discussion and not being familiar with these laws, I’ve avoided giving credit, which I usually do, to sources from Russia. I hope that this person will read this and please sympathise with my reluctance. Added comment: I may have misunderstood the exact meaning of the poster’s comment, but my general feelings remain the same. I think that the poster was actually observing that little attention has been given here to the change in plot which has received a great deal of attention, at times very scholarly, at the forum from Russia.

Thank you very much, Annamk, for your very fine review with the further good news about Olga Smirnova. May I ask what you thought of Maia Makhatelli’s performance ?

Two interesting observations. First, Olga Smirnova was apparently very well received. Second, this Raymonda has a significant change in plot. Raymonda falls in love with Abderakhman. Here's a quick preview featuring Principal Dancer, Maia Makhateli, who debuted the work and can be seen with the complete work in May on an internet broadcast. https://www.youtube.com/watch?v=KdgNplp8JQM (Thanks to Sophia at Dansomanie) Here's a description of Olga Smirnova's reception from an unofficial review. "By the end, everyone in the hall was delighted. In the course of the action, shouts of "Bravo!" were constantly heard. - both to Olga, and to Victor Caixeta, and to Konstantin Allen and to the soloists of individual episodes. The performance ended with thunderous applause. The performers of the main roles were presented with huge bouquets and both young people gave their bouquets to Olga, who, it seems to me, was very touched by the reception of the public. "In my opinion, Olga is treated very well in the troupe and I hope she will take root there." Here's a look back from the Mariinsky archives. https://www.mariinsky.ru/about/exhibitions/petipa200/raimonda/ Google translator: https://translate.google.com

Xander Parish "Dear friends & [Instagram] followers, tonight I was supposed to be performing Giselle at the Mariinsky Theatre but instead, due to the awful crisis I have taken the difficult decision to leave Russia, at least until peace comes. My heart goes out to the people of Ukraine, near and far, including @kate_chebykina pictured with me here in @jivoy_dance’s “I’m not Scared”. I am so grateful to the Mariinsky Theatre who, thanks to Yuri Fateev, took me in 12 years ago and gave me a career in classical ballet I could only have dreamed about. I am grateful to the wonderful ordinary Russian people, the majority of whom have treated me with such kindness. I pray that peace will come and the wounds will be healed by God’s grace. Thank you to all of you who have been sending me messages over the past few days and sorry for not having had the time to reply 🙏🏻" https://www.instagram.com/p/Caxj21HOqGK/ (thanks to Canbelto at Ballet Alert! for finding this)

And she did it to Torvill and Dean's music.

And.... Pot-Pourri (Banda Cover versão completa) - Rivers of Babylon - Sugar Sugar - More Than I Can Say - Forever and Ever - Mississippi - Guantanamera - Kiss Me, Honey Honey, Kiss Me - Jeany Ich Brauch' Dich

Shame. 😊 Now let's move on to friendlier waters.

I don't know about the Winter Olympics but nothing slowed him down.

Thanks so much, Fiona, but I can't access this either. Any other possibilities ? I found it. Thank you. https://www.instagram.com/p/CZCzAdMofRs/

I'm over the moon about this young lady from what I've seen on video, Annamk. Could you or anyone else please tell me where the announcement of her promotion to First Soloist was published ? This link was posted elsewhere, but I can't access it. https://www.facebook.com/1038127474/videos/483119866715590

"Like a sculpture to be awaken by the power of Love… By the power of light and music that sounds from inside. There is Galatea in every of us. So give the true sense to the perfection of your lines enriching them with treasures of your soul." (From La Personne, online ballet magazine from Russia)

If I could just add a few more brief thoughts. Again, it's worth emphasising that A Legend of Love is generally considered Yuri Grigorovich's finest work, perhaps one of the finest works in all of ballet. In invention, it's possibly on a par with the best of George Balanchine, although George Balanchine was probably much more prolific in output and ideas. The fact that Yuri Grigorovich stayed closer to the 'etherial' nature of classical ballet is something that I appreciate. 'Etherial' nature is what makes me a ballet fan, a lover of Swan Lake, Giselle.... On the other hand, the attraction for me of A Legend of Love is that it's driven by a pulsating momentum with a depth of poetic reflection, but probably most importantly -- by a wealth of imagery.

What makes this work so interesting to me, Darlex, is its Structural Invention, in particular its shapes and motion. They are an extension of previous classical ballet. But most important, they work so well. "His dancers are usually seen in profile, with flexed wrists and palms out, evoking Asian dance silhouettes, but also exploring the V‐shaped acrobatic broken lines of the plastique special to Soviet ballet." https://www.nytimes.com/1979/08/23/archives/ballet-us-premiere-of-legend-of-love.html I think that this description could be extended to all the elements of this work. "Dance silhouettes" and "acrobatic" are possibly key words. There's also a contrast of quiet peace and surging energy throughout and a merging of East and West. Added: What Alena Kovaleva apparently has brought to this work is a significantly heightened sense of warmth and grace.

Yes, thank you, Jan, and Ian also. The Mariinsky had an exhibit celebrating the 60th Anniversary and here are some nice, historic photos. (scroll down) The forth photo shows the creators. (from left to right): Simon Virsaladze, Yuri Grigorovich, Nazym Hikmet, Arif Melikov, Niyazi. 1961 And sure enough, in the last photo is Alexander Gribov as Ferkhad. (March 23, 1961) Thanks to Алексей Яковлев (Alexey Yakovlev) at Balletfriends, Большой - Балет и Опера http://forum.balletfriends.ru/viewtopic.php?t=9480&postdays=0&postorder=asc&start=135 Here's the Google translator for anyone who wants to read the captions. https://translate.google.com "Olga Moiseeva performed the role of Mekhmene Banu, Irina Kolpakova, the future prima of the Kirov ballet and the last student of the great Vaganova, performed the role of Shireen." https://www.bolshoirussia.com/news/?year=digest2&newsid=106

My quick perusal of the internet seems to confirm what you say, Jeannette. Thank you. Apparently Rudolf Nureyev was chosen by Yuri Grigorovich for the debut, greatly desired it and rehearsed it for quite awhile, but it didn't happen.

Here's how that goes, Dalex, and thanks, Jan. This is actually kind of interesting as I didn't know about it. And Rudolf Nureyev being the first in the lead role of Ferkhad is also quite interesting. "A graduate of the Leningrad School of Dance in 1946, Yuri Grigorovich began his artistic career as a ballet dancer (and later a soloist) at the Leningrad State Academic Kirov Theatre, where he staged his first productions – The Stone Flower (1957) and The Legend of Love (1961), while from 1961 to 1964 he was the theatre's resident choreographer." (Mariinsky site) -- https://www.mariinsky.ru/en/company/choreographers/grigorovich/ I'd like to add that the interpretation of Queen Mekhmene Banu is generally a deeply dramatic one. I have written elsewhere that because of Alena Kovaleva's 'vibrantly' graceful manner and presence, I really wouldn't miss this sort of 'heavy' interpretation. Apparently, according to the review, this is exactly how she handled it and very effectively -- being regal, but "kind and touching" rather than heavily dramatic. Also another Correction: Ferkhad was Denis Rodkin (not Jacopo Tissi) and Princesse Shireen was Maria Vinogradova (not Anna Nikulina)

I caught this too late to make the correction, but the ballet premiered in 1961 making this its 60th anniversary, not its 30th. If a moderator wishes, maybe the title of this topic could be changed to: "Bolshoi - Legend of Love 60th Anniversary - Alena Kovaleva" "Yuri Grigorovich’s A Legend of Love premiered in 1961 while he was head of the Kirov (Mariinsky) Ballet, with Rudolf Nureyev in the lead role of Ferkhad. It was Grigorovich's second ballet – the first being the highly successful Stone Flower –and it established his reputation as an innovative new choreographer. The production was a multi-national collaboration: the choreography by the Russian [choreographer], the libretto by Turkish poet Nazim Hikmet, a score by Azerbaijani Arif Melikof, and sets designed by Georgian Simon Virsaladze." https://bachtrack.com/review-legend-of-love-bolshoi-ballet-historic-stage-moscow-december-2015

This year marks the 30th anniversary of Yuri Grigorovich's famous masterpiece, A Legend of Love, and the Bolshoi is presenting it five times this month. I'm a particular fan of the young, captivating and highly talented Alena Kovaleva, who has risen fast having been given the coveted Odette/Odile from Swan Lake almost upon her arrival. Now she just debuted as Queen Mekhmene Banu (the lead) partnered by Jacopo Tissi with the lovely Anna Nikulina as Princess Shireen, her sister. I am reading what seems to be a very nice review by Inna K at the Bolshoi oriented Balletfriends, Большой - Балет и Опера, Forum. Not wanting to rush through, I'm stopping here to post two Google translated quotes. "I will say right away that I really liked her Mekhmene...." And most touching and important to me: "As a simple spectator, I am guided by a very simple criterion - it touches the soul or not, and in this case Mehmene convinced me from the very first minutes of her appearance". I may write some more at another time. I do wish her much success with this and her entire career. http://forum.balletfriends.ru/viewtopic.php?t=9480&start=135 Google translate -- https://translate.google.com

A man with a very fine career as well as being a very sympathetic human being and social benefactor. As famous as he was as a performer, I always appreciated what he did after. Here from the New York Time's obituary posted above by Bruce : "He retired from performance the next year and turned his attentions to National Dance Institute, which takes dance into public schools and which he founded in 1976. "Now the goal is to offer free classes to all, no matter the child’s background or ability. Today the institute teaches thousands of New York City children ages 9 to 14 and is affiliated with 13 dance institutes around the world. The institute, which has its headquarters in Harlem, where Mr. d’Amboise lived, was profiled in Emile Ardolino’s 1983 Oscar-winning documentary, “He Makes Me Feel Like Dancin’.”"

I didn't want to start a new topic, but I thought that this might be interesting and this might be an okay place to post it. To give a sense of how the ballet world is carrying on in Russia, Ballet Friends (Большой - Балет и Опера (Bolshoi Ballet and Opera)) probably the biggest Russian ballet forum has devoted a full three pages to general comments on the last two days of performances at their Mariinsky topic. I don't want to judge the wiseness of the Mariinsky/Bolshoi full scheduling of performances that has been in effect for almost a half year now, but it's certainly a contrast to many other parts of the world.

From video clips, Annamk, Kimin Kim does seem to be at the top of his game. Even with my very mixed feelings about the Mariinsky's dealing with the health aspects of its full programming, such as no seat spacing for the audiences, etc., Kimin Kim has, for me, been an inspiration through all of this.