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Found 2 results

  1. The Bolshoi's season of live cinema transmissions started today with Le Corsaire. Please use this thread to discuss the performances. I have to say, I thought the production looked stunning on screen, and that the dancers were generally framed pretty well - no parts of bodies escaping the frame during the dancing. I was a little surprised to find two dancers being interviewed about the roles of Conrad and Medora and then two completely different dancers performing the roles, though! Oh, and I still covet those beautiful white tutus from the Jardin Anime scene, even more so having seen them up close
  2. Saw no one has yet lifted this topic off, so I thought I would jump in. I wrote a review of the production itself the last time round so I will leave that to historical record. In many ways I thought last night's outing was more fair to the the variety of Ratmansky's choreographic outlines - and certainly Burlaka's 'Dramatic Conception' - such as it exists in this particular 're-imagining'. Indeed - and perhaps more to the point - it was the Bolshoi Ballet Company - itself - as a whole - that here now shone minus its originating - and focus stealing - 'Vasipova' effect, as thrilling as that historic moment in balletic time was. That is perhaps ironic given much of the Bolshoi's own history ... but there is no question but that it is more fitting just now. (The Shrew of the last two nights has made that vividly clear. This is a Company set sail with a differing - if not an entirely different charge.) In many ways I felt that Ekaterina Krysanova bettered her predecessor as Jeanne in that she seemed a tad more comfortable in the many character dance aspects and was certainly determined in her character observations throughout. Her stare as she progressed forward at the end pierced through with steel. What a gloriously versatile artist this young dancer is. Certainly you could feel that in the clearly distinct differences in her own O/O framework. She is, in fact, the ONLY female principal who will have appeared in principal roles in ALL FIVE of the ballets being presented in London's 2016 Bolshoi season. This surely is HER season and hers - at least as far as I'm concerned - is very much a well deserved showcase ... as was it on this occasion for the dramatically thrilling Igor Tsvirko (looking - as arrayed here - every inch the Bolshoi's answer to John Travolta of yore) - who threw his own eye popping - both literally and figuratively - blaze into last night's mix as Philippe. Denis Rodkin was replaced 'due to injury' (as announced) last night by the arduously svelte Artem Ovcharenko and his real-life fiancee (it has been publicly announced they will be getting married later this month) the always enticingly exquisite Anna Tikhomirova - surely a principal in waiting. They dazzled as Mireille de Poitiers and Antoine Mistral and the oh, so difficult partnering of that central adagio - even inclusive here of a very small slip by Tihomirova which Ovcharenko make almost entirely unnoticable. Theirs was a heart-rendering love knot and oh, so very musically enhanced. Outstanding too - once again - in the role he originated - was that phenomenal character artist in a company of world leading character dancers, Vitaly Biktimiov. Once more he proffered a distinctly 'David-Niven-like' air as Gilbert, Captain of the Marseillais. How lucky we are to be able to watch his ever present and always uniquely stunning detail of his life enriching creations much as we are with our very own and equally vivid Gary Avis. Denis Savin once again brought keen heart to Jerome as did the effervescent Nina Kaptsova as Adeline (much as she had in the performance now incarcerated on DVD). I felt that Chudin - in an act of wholly unnecessary luxury casting - was a tad wasted in the role of The Marquis Costa de Beauregard - for short of his revelatory bristling brises - there is not a great deal of dance for this character and otherwise Chudin did appear somewhat out of place at times - (and the wig too certainly does him no favours much as it historically didn't a younger Wayne Eagling - who every year he seems to facially resemble more and more - in the RB's Nutcracker). This may well, of course, have been an appropriate character choice given that this role is largely written out as the proceedings progress; a bit like David Cameron after Brexit. That said I was entranced once more by the gloriously witty account Denis Medvedev gave as King Louis XVI in his one scene. During this you could well see why Stalin - zealously puffing smoke from his Bolshoi box - would reportedly guffaw with such bucolic mirth. Indeed at one point therein I thought I could hear the trace of his echo. In all though it was the stunning character dances - here in such an abundantly rich array - that tied this fanciful delight up with a distinctly charged ribbon. Georgy Gusev's precision in placement alone in the thrilling Marseillaise Dance almost cried out 'Liberte, egalite ... and certainly fraternite' and the adoring audience once again detonated in the explosive thunder of their admiration.
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