Bolshoi 2017 Japan Tour

[Balletomanewithoutacause]

"Final" casting is up on the Bolshoi website for the 2017 Japan Tour Programme.  The Russian Seasons festival opens with Stepanova's Swan Lake in Hiroshima and ends with Smirnova's Swan Lake in Osaka.  Stepanova and Smirnova dance three Swan Lakes each and Zakarhova and Krysanova each dance one (if I've counted right).  Obratzsova dances one Giselle and debuts in Flames of Paris!  Maria Vinogradova dances one Giselle with her husband Ivan Vasiliev.  It seems impossible that Krysanova would on three consecutive days dance two Flames and Swan Lake, so possible changes to come there.  Lots will be seen of Margarita Schrainer known to London audiences from her Don Q debut. Recent Vaganova graduate, Vaziev favorite and new star-in-the-making Alyona Kovaleva will dance Myrta, casting against type if there ever was (she is a lovely happy dancer who has not yet shown a darker side).  Many Bolshoi "senior" dancers will not be seen on this tour, nor will a favorite of London audiences, Anna Tikhomirova, who is, according to her Instagram, 7 months pregnant. Anna's husband Artem Ovcharenko will appear as Stepanova's prince.  Looking forward to reading reviews from anybody lucky enough to attend!

 
2 June 
Hiroshima Bunka Gakuen Hbg Hall 
Swan Lake 
Odette-Odile: Yulia Stepanova 
Prince Siegfried: Artem Ovcharenko  
The Evil Genius: Mikhail Kryuchkov  
Friends to the Prince: Anastasia Denisova, Ana Turazashvili 
The Fool: Georgy Gusev 

 
4 June, matinee 
Tokyo Bunka Kaikan 
Giselle (Y. Grigorovich version) 
Giselle: Evgenia Obraztsova 
Count Albrecht: Igor Tsvirko 
Myrtha: Yanina Parienko 

4 June, evening 
Tokyo Bunka Kaikan  
Giselle 
Giselle: Svetlana Zakharova 
Count Albrecht: Denis Rodkin 
Myrtha: Yulia Stepanova 

5 June 
Tokyo Bunka Kaikan 
Giselle 
Giselle: Ekaterina Krysanova 
Count Albrecht: Vladislav Lantratov 
Myrtha: Alyona Kovalyova (debut) 

7 June 
Tokyo Bunka Kaikan  
Swan Lake 
Odette-Odile: Olga Smirnova 
Prince Siegfried: Semyon Chudin  
The Evil Genius: Igor Tsvirko 
Friends to the Prince: Kristina Kretova, Margarita Shrainer (debut)  
The Fool: Alexander Smoliyaninov 

8 June, matinee 
Tokyo Bunka Kaikan  
Swan Lake 
Odette-Odile: Yulia Stepanova  
Prince Siegfried: Artem Ovcharenko  
The Evil Genius: Mikhail Kryuchkov  
Friends to the Prince: Kristina Kretova, Margarita Shrainer 
The Fool: Georgy Gusev 

8 June, evening 
Tokyo Bunka Kaikan  
Swan Lake 
Odette-Odile: Svetlana Zakharova 
Prince Siegfried: Denis Rodkin 
The Evil Genius: Mikhail Kryuchkov  
Friends to the Prince: Anastasia Denisova, Ana Turazashvili  
The Fool: Alexander Smoliyaninov  

 
10 June 
Otsu, Main Theatre/ Biwako Hall 
The Flames of Paris 
Jeanne: Evgenia Obraztsova (debut) 
Philippe: Igor Tsvirko 
Jerome: Alexander Smoliyaninov 
Adeline: Ana Turazashvili  
Mireille de Poitiers: Margarita Shrainer (debut) 
Antoine Mistral: David Motta Soares(debut) 

11 June 
Tokyo Bunka Kaikan  
Swan Lake 
Odette-Odile: Yulia Stepanova 
Prince Siegfried: Artem Ovcharenko  
The Evil Genius: Mikhail Kryuchkov  
Friends to the Prince: Kristina Kretova, Margarita Shrainer 
The Fool: Georgy Gusev  

12 June 
Tokyo Bunka Kaikan  
Swan Lake 
Odette-Odile: Olga Smirnova 
Prince Siegfried: Semyon Chudin 
The Evil Genius: Igor Tsvirko
Friends to the Prince: Kristina Kretova, Margarita Shrainer  
The Fool: Alexander Smoliyaninov  

14 June 
Tokyo Bunka Kaikan  
The Flames of Paris 
Jeanne: Ekaterina Krysanova 
Philippe: Vladislav Lantratov 
Jerome: Denis Savin 
Adeline: Ana Turazashvili  
Mireille de Poitiers: Margarita Shrainer  
Antoine Mistral: David Motta Soares 

 
15 June 
Tokyo Bunka Kaikan  
The Flames of Paris 
Jeanne: Ekaterina Krysanova 
Philippe: Ivan Vasiliev 
Jerome: Alexander Smoliyaninov 
Adeline: Ana Turazashvili  
Mireille de Poitiers: Margarita Shrainer 
Antoine Mistral: David Motta Soares  

 
16 June 
Sendai Izumiti 21 Dai Hall 
Swan Lake 
Odette-Odile: Ekaterina Krysanova 
Prince Siegfried: Vladislav Lantratov 
The Evil Genius: Igor Tsvirko  
Friends to the Prince: Anastasia Denisova, Ana Turazashvili  
The Fool: Georgy Gusev  

 
17 June 
Osaka Festival Hall  
Giselle 
Giselle: Maria Vinogradova 
Count Albrecht: Ivan Vasiliev 
Myrtha: Olga Marchenkova 

18 June 
Osaka Festival Hall 
Swan Lake 
Odette-Odile: Olga Smirnova  
Prince Siegfried: Semyon Chudin  
The Evil Genius: Igor Tsvirko  
Friends to the Prince: Anastasia Denisova, Ana Turazashvili  
The Fool: Alexander Smoliyaninov  

 

 

[MAB]

As a long time Bolshoi fan, I find it concerning that the bulk of the performances are given to dancers hailing from the St Petersburg school.

[assoluta]

With this kind of repertoire it is quite inevitable, Zakharova, Stepanova, Smirnova, are currently the best Swans at Bolshoi, after Lunkina's departure from Bolshoi there is no Moscow trained ballerina who possesses Swan like qualities. Obraztsova along with Zakharova are also the best Giselles and Stepanova is the best Myrtha. Obraztsova as Jeanne in the Flames of Paris, and Ivan Vassiliev's wife, Vinogradova, as Giselle, are probably cast as a matter of convenience, since both are dancing the principal parts in another Japan Tour show as well. Kovaliova's appearance is likely dictated by the desire to present to the Japanese audiences the promising young dancer who can become a star a few years from now.

Edited June 1, 2017 by assoluta

[Balletomanewithoutacause]

10 hours ago, MAB said:

As a long time Bolshoi fan, I find it concerning that the bulk of the performances are given to dancers hailing from the St Petersburg school.

True, Moscow trained Nikulina dances O/O but is not on the tour, who knows why.  Perm-trained but Moscow style Shipulina was scheduled originally but may have chosen not to come for family reasons.  But assoluta is right, Bolshoi does not seem to have many Swan-like Moscow ballerinas ready to dance O/O. I wonder why over the past 10-15 years more Moscow trained dancers like Kaptsova, Goryacheva and others weren't given the opportunity to dance O/O? I could be wrong, but It seems Alexandrova and Zakarhova might have had a lock on the role, leaving few opportunities for others.  Or maybe Moscow training does not create or value O/O types?  One thing is clear, it's not the fault of Petersburg! 

[assoluta]

4 hours ago, Lexy said:

True, Moscow trained Nikulina dances O/O but is not on the tour, who knows why.  Perm-trained but Moscow style Shipulina was scheduled originally but may have chosen not to come for family reasons. (...) It seems Alexandrova and Zakarhova might have had a lock on the role, leaving few opportunities for others.  Or maybe Moscow training does not create or value O/O types?

 

It goes without saying that any Balshoi prima-balllerina or a leading soloist can dance Swan Lake. Vaziev announced that for the Japan Tour he was taking the "very best of Bolshoi forces", this is why neither Nikulina, whose career has been advanced primarily by Grigorovich's dramballets, nor Shipulina, who is slowly returning to some kind of form (but was never shining in Classics), are dancing Swan Lake in Japan.

 

Neither Zakharova nor Alexandrova "had a lock on the role", not in the last 5-6 years, or 10-15 years ago. Right after her graduation from the Vaganova Academy, Smirnova was given by Sergei Filin every opportunity to dance anything she wanted even if not always ready. Daily hard work, an unbelievable desire to become a star, combined with a steady promotion by the Boolshoi administration, make that goal reality. Kristina Kretova, another Filin's protégé, was also frequently cast by him in Swan Lake. Before Filin, Svetlana Lunkina was for many years, together with Svetlana Zakharova, a leading Swan Queen at the Bolshoi. No Moscow trained ballerina has been able to fill the void caused by Lunkina's inability to return to Russia.

[MAB]

I wouldn't consider the Bolshoi's version of Swan Lake to be high art, indeed unless someone I  consider exceptional were dancing, it's something I'd happily miss.  I was always an admirer of Alexandrova's passionate Swan, a little in the style of Plisetskaya, and of course the company missed a trick by never giving Osipova a chance of the role.  Performance style has definitely changed in Moscow over the years and too many performers are devoid of the emotion and the often uninhibited qualities that made them special, personally I'd like a return to that.

[DrewCo]

Krysanova is another Bolshoi ballerina who has danced Swan Lake in recent years. I can't say I thought her a great Odette-Odile when I saw her dance the role in 2014--I didn't--but there were things to enjoy and admire in that performance including brilliant dancing in the coda of the first Lake scene and also in portions of the 'black swan' pas de deux, including warp speed, if otherwise kind of careless, fouettes.  She also brought a kind of sensual quality to Odette as well as Odile, which I found a bit interesting. She may have developed in the role since then.  (I had thought she danced it more recently in London.) 

 

I'm mentioning this not to second guess Vaziev's decisions for the Japan tour, but to include her among recent Bolshoi swans being mentioned. 

 

I also do not care for the Grigorovich Swan Lake...at all.

 

 

 

[Balletomanewithoutacause]

4 hours ago, DrewCo said:

Krysanova is another Bolshoi ballerina who has danced Swan Lake in recent years. I can't say I thought her a great Odette-Odile when I saw her dance the role in 2014--I didn't--but there were things to enjoy and admire in that performance including brilliant dancing in the coda of the first Lake scene and also in portions of the 'black swan' pas de deux, including warp speed, if otherwise kind of careless, fouettes.  She also brought a kind of sensual quality to Odette as well as Odile, which I found a bit interesting. She may have developed in the role since then.  (I had thought she danced it more recently in London.) 

 

I'm mentioning this not to second guess Vaziev's decisions for the Japan tour, but to include her among recent Bolshoi swans being mentioned. 

 

I also do not care for the Grigorovich Swan Lake...at all.

 

Drew, I agree with you about the Grigorovich Swan Lake, although there are parts I  i kind of like  -- the dance of the black swans at the beginning of the black act, and the black swan variation itself (although I prefer the Mariinsky version).  I've read it might be the first of the classical Grigorovich ballets to be discarded and replaced because it is so widely disliked. (Have to say for me at least his horrible Sleeping Beauty should also be among the first to go.)  I do like some Gregorovich, Legend of Love especially.  

 

Krysanova IS dancing O/O towards the end of the tour, in Sendai, that is if she is still able to do so after dancing Flames of Paris on each of the two preceding days!  I would love to see her in Flames or Taming of the Shrew, which show off her technical and emotive strengths, but not so much O/O or other classical ballets.

[assoluta]

31 minutes ago, Lexy said:

Drew, I agree with you about the Grigorovich Swan Lake, although there are parts I  i kind of like  -- the dance of the black swans at the beginning of the black act, and the black swan variation itself (although I prefer the Mariinsky version).  I've read it might be the first of the classical Grigorovich ballets to be discarded and replaced because it is so widely disliked. (Have to say for me at least his horrible Sleeping Beauty should also be among the first to go.)  I do like some Gregorovich, Legend of Love especially.  

 

Krysanova IS dancing O/O towards the end of the tour, in Sendai, that is if she is still able to do so after dancing Flames of Paris on each of the two preceding days!  I would love to see her in Flames or Taming of the Shrew, which show off her technical and emotive strengths, but not so much O/O or other classical ballets.

 

Krysanova is not dancing three days in a row, a simple mistake, Kretova confused with Krysanova, of whoever was entering the information on the Bolshoi web site.

 

Secondly, I would never call Grigorovich's redaction of Sleeping Beauty "horrible" (?!?). Grigorovich's versions of Classics are much closer to the spirit of the classical dance than most. Concerning his redaction of Swan Lake, it is liked, e.g., by the Moscow audiences. Not my favourite version, yet personally I find it interesting, proper and, most importantly, valid, more proper and valid than the majority of other versions that are not met with this kind of expression of disliking probably because few really care much about them. It isn't "high art"? Well, is Alexandrova cast as Odette "high art"? Not for me and especially so in recent years when her speed and precision are gone. MAB complaining that Osipova was not given Swan Lake at Bolshoi? When Osipova was dancing at Bolshoi, her classical technique was much inferior to what it became later, especially since she moved to London. In those days her fame was, like in the case of her then partner, Ivan Vasilyev, due to their dynamite performances unfortunately often crossing the boundaries of vulgarity.

 

Finally, how many modern versions of Classics I could call "high art" at all? Some of them are more enjoyable, some less, our enjoyment depending more often on the propriety of costumes and the quality of the corps de ballet. Is the classical repertoire perceived today as "high art" by the respective artistic directors and dancers as "high at" at all? Knowing both, my answer is - it is not. It is considered as some kind of "crowd pleaser", a lowly entertainment for unsophisticated masses, a sort of necessity, in order to keep the ballet audiences returning, "high art" is Forsythe, McGregor, etc, but give them only the "high art" of Forsythes and McGregors, and many would stop coming.

[MAB]

Osipova's technique was never 'inferior' except in the eyes of the organized claque of her detractors.  However I concur that her partnership with circus-act Ivan Vasiliev did little to enhance her career.  I vividly remember a superb performance of the Flames of Paris pas de deux with Jan Godovsky before she teamed up with IV.  Elegant and precise, not barnstorming.  She was always a class act.

 

You appear to have a low opinion of Alexandrova too, well, she gave the outstanding performance in the often disappointing London Bolshoi season last year, which was a dispiriting affair if you had the bad luck to pick the wrong cast.  When older dancers lose a little speed the compensation is a finely tuned stage presence that comes from years of experience.  Ballerinas, and Alexandrova genuinely deserves that title, are like fine wines, they vastly  improve with age.

[assoluta]

You are ascribing to me opinions I didn't express. My remark about Alexandrova was exclusively in the context of you mentioning her as Odette/Odile. If you mean by "outstanding performance" her London Corsaire, however, and by "finely tuned stage presence" her overacting and resorting to thick coloring, then I disagree. If there ever was "the organized claque of (Osipova) detractors" (the first time I hear about it), then I never was a part of it. The technical aspect of ballet is not measured in the altitude of jumps, the velocity of rotation, or ability to perform acrobatic tricks, there are other, more important aspects of it, purity of lines, harmony of expression, etc.

Edited June 3, 2017 by assoluta

[Balletomanewithoutacause]

Again I'm reminded of how visceral reactions to art (or "art") can be.  You become acquainted with a ballet in a certain version, perhaps grow to understand and prefer another version and, at least in my case, develop a strong preference for "the best" version.  On the intellectual level I could say I don't appreciate Grigorovich's truncating and reordering of Tchaikovsky's Sleeping Beauty score, or his inexplicable barring of the lilac fairy from the wedding festivities, for example.  Others could respond that other versions do equal or worse violence to the "original" and they would probably be right.  We can talk about the Grigorovich version as a work of art (or even "high art"?) without reference to other versions and perhaps would find it to be a more harmonious creation than what it feels like to me.  I could even persuade myself on an intellectual level to admire Grigorovich's Sleeping Beauty (and also his Swan Lake) but really what's the point?  I, like many others, love ballets that catch my imagination, allow me to identify with archetypes, experience beauty, and make my heart happy as I vicariously dance with the music and forget the real world for just a bit. It's a tribute to the art form that it elicits such strong and disparate feelings because that means it's alive and working its magic!   

 

For me, Bolshoi is an acquired tasted because I was first exposed to NYCB and Mariinsky.  I'm beginning to appreciate the dram ballets on an intellectual plane as expressions of Russian history and culture, but find what seems to me like overacting and overly athletic dancing somewhat off-putting.  It is indeed a valid form of dance but it doesn't speak to me.  I'm often disappointed in Bolshoi's classical productions because they are frequently technically sloppy and over the top, but am also blown away by those spectacular visuals on that great stage, Raymonda's dream for example, and by some incredibly exciting/moving classical dancing.  It goes without saying that the kind of dancer that Alexandrova represents is essential to much of the Bolshoi repertoire, but to be truly great the company also needs great classicists for roles that demand that kind of dancing.  i suppose it's unreasonable to expect the Bolshoi to consistently nurture a variety of dance styles -- it seems rather to careen from one extreme to the other -- but we can always hope.

 

 

[assoluta]

2 hours ago, Lexy said:

I could even persuade myself on an intellectual level to admire Grigorovich's Sleeping Beauty (and also his Swan Lake) but really what's the point?

 

What's the point? The point is perhaps to be just slightly more careful with words. If Grigorovich's staging of Sleeping Beauty is "horrible", then what epithets are left for how the classical repertoire is presented to the audiences in general? Practically every version of Classics I know has numbers inserted, transposed, excised, often seemingly the most necessary ones are inexplicably missing. The costumes and decorations not infrequently become displays of misguided "creativity", distorting the whole work and distracting the audience. So much depends on the level of culture, knowledge, artistic vision of those one who are in charge. The "cut" made by Grigorovich in Sleeping Beauty is short, so short that one rather wonders why he made it all. His version has beautiful, masterfully executed ensembles, by the way. My opinion is that Grigorovich's Sleeping Beauty is anything but "horrible". His versions of Classics I have been considering for years not just valid but actually very worthy.

 

According to the reports from Japan, the Opening Night Swan Lake was met with a standing ovation and lots of "bravos". An auspicious beginning, I suppose.

[MAB]

I've heard that Sleeping Beauty described in far stronger terms than 'horrible'.  What's the difference between Lexy's dislike of Grigorovich and your dislike of Ratmansky?

[assoluta]

6 hours ago, Lexy said:

It goes without saying that the kind of dancer that Alexandrova represents is essential to much of the Bolshoi repertoire,

 

I am not so sure about it. Alexandrova, in fact, is not your typical ballerina, "Bolshoi" or not, she is unique to a great extent, she always was. Nikulina now, Bessmertnova in the past, dancers of very different type, were more "essential" for "much of the Bolshoi repertoire", if you understand by this Grigorovich's dramballets. Note that throughout much of her long career, Alexandrova took place behind Zakharova and Lunkina, the dancers epitomizing Bolshoi and its qualities yet so different from her.

[Balletomanewithoutacause]

4 hours ago, assoluta said:

 

I am not so sure about it. Alexandrova, in fact, is not your typical ballerina, "Bolshoi" or not, she is unique to a great extent, she always was. Nikulina now, Bessmertnova in the past, dancers of very different type, were more "essential" for "much of the Bolshoi repertoire", if you understand by this Grigorovich's dramballets. Note that throughout much of her long career, Alexandrova took place behind Zakharova and Lunkina, the dancers epitomizing Bolshoi and its qualities yet so different from her.

 

Never said she was typical in the sense of average or common.  I was pointing out that she's not a refined classicist but rather the type of ballerina who excels in ballets like The Bright Stream or Don Q so perhaps we're not disagreeing.

 

 

 

[Balletomanewithoutacause]

9 hours ago, assoluta said:

 

What's the point? The point is perhaps to be just slightly more careful with words. If Grigorovich's staging of Sleeping Beauty is "horrible", then what epithets are left for how the classical repertoire is presented to the audiences in general? Practically every version of Classics I know has numbers inserted, transposed, excised, often seemingly the most necessary ones are inexplicably missing. The costumes and decorations not infrequently become displays of misguided "creativity", distorting the whole work and distracting the audience. So much depends on the level of culture, knowledge, artistic vision of those one who are in charge. The "cut" made by Grigorovich in Sleeping Beauty is short, so short that one rather wonders why he made it all. His version has beautiful, masterfully executed ensembles, by the way. My opinion is that Grigorovich's Sleeping Beauty is anything but "horrible". His versions of Classics I have been considering for years not just valid but actually very worthy.

 

According to the reports from Japan, the Opening Night Swan Lake was met with a standing ovation and lots of "bravos". An auspicious beginning, I suppose.

 

I was saying there's no point in trying to like a ballet just because you think you should like it.  We are agreeing that my objections to the Grigorovich version of SB are not entirely logical.  

 

Lots of Japanese audience enthusiasm on Instagram as well!  Beautiful Stepanova, high-flying Ovcharenko, much appreciation for the corps and orchestra.

 

[Balletomanewithoutacause]

Translation by Bing: "On the first day of the Bolshoi Ballet Japan in Hiroshima in Ovation, we end. Stepanova a graceful Swan, Black Swan a bewitching dance perfectly divided into ⭐️. Ovcharenko fascinated even the fine acting techniques coupled with ?, Kryuchkov and powerful! Bravo were the curtain call curtain before the audience to a standing ovation," the.

Edited June 4, 2017 by Lexy

[alison]

Maybe someone could put that into English?

[assoluta]

Answering your call, Alison,

 

The first Bolshoi Ballet show in Japan ended in a huge ovation in Hiroshima. Stepanova danced splendidly, a graceful swan and a fascinating black bird. Ovcharenko combined good acting with technique, powerful Kryuchkov! "Bravos" flying all over and a standing ovation during the curtain calls.

Edited June 4, 2017 by assoluta

[Balletomanewithoutacause]

Video from Japanese media/YouTube of opening ceremonies (note Evgenia Obraztsova and Igor Tvirsko particpating) and excerpts of first night Giselle (Rodkin/Zakarhova).

 

Tried to delete the duplicate post above, couldn't, sorry.

Edited June 5, 2017 by Lexy

[Jan McNulty]

I've hidden the duplicate post

[Balletomanewithoutacause]

Click to view Artem and Yulia signing autographs for Japanese fans after Swan Lake.  

 

 

[Balletomanewithoutacause]

Has anybody seen any reviews of the Bolshoi performances in Japan?  There's lots of fan enthusiasm on Twitter and Instagram but nothing I would call a review.  Thanks.

[Naomi M]

Fabulous Basque dance from Bolshoi Ballet's Flames of Paris on Wednesday (Krysanova, Lantratov, Savin)

I was at this performance and this was so wonderful. The 3 leads were even greater than the filmed performance, so much bravura. Ratamansky's Flames of Paris is a great production and the bitter ending tells us many lessons especially in this era of terrorism. 

 

I was to attend 5 performances of Bolshoi Japan tour, but I got sick with pneumonia and was hospitalized and could only see two. The other one i could manage to see was Swan Lake with Smirnova, Chudin with Tvirko as the Evil Genius and it was a very beautiful performance, the company looked very well and Smirnova was a tragic stunning Odette.  However, after the intermission and at the Black Swan act, the prince was replaced by Lantratov. (he did a very good job, given that it was his first time to partner Smirnova in Swan Lake, he didn't seem to have time to wear stage makeup) After the performance it was announced that Chudin got sick. But Chudin withdrew from all the remaining performances (Flames of Paris and also Swan Lake in Osaka) and Rodkin who had already been back in Moscow flew to Japan to replace Chudin.    

[MAB]

Hope you are now fully recovered Naomi.

[Naomi M]

5 hours ago, MAB said:

Hope you are now fully recovered Naomi.

 

Thank you, that is so kind of you. Not fully and I have lost my voice but anyway I was happy that i could see the spectacular performance of Flames of Paris. Krysanova was just incredible with so much character and flawless technique. 

[Jan McNulty]

Best wishes that your are soon fully recovered Naomi.

[Balletomanewithoutacause]

10 hours ago, Naomi M said:

Fabulous Basque dance from Bolshoi Ballet's Flames of Paris on Wednesday (Krysanova, Lantratov, Savin)

I was at this performance and this was so wonderful. The 3 leads were even greater than the filmed performance, so much bravura. Ratamansky's Flames of Paris is a great production and the bitter ending tells us many lessons especially in this era of terrorism. 

 

I was to attend 5 performances of Bolshoi Japan tour, but I got sick with pneumonia and was hospitalized and could only see two. The other one i could manage to see was Swan Lake with Smirnova, Chudin with Tvirko as the Evil Genius and it was a very beautiful performance, the company looked very well and Smirnova was a tragic stunning Odette.  However, after the intermission and at the Black Swan act, the prince was replaced by Lantratov. (he did a very good job, given that it was his first time to partner Smirnova in Swan Lake, he didn't seem to have time to wear stage makeup) After the performance it was announced that Chudin got sick. But Chudin withdrew from all the remaining performances (Flames of Paris and also Swan Lake in Osaka) and Rodkin who had already been back in Moscow flew to Japan to replace Chudin.    

Many thanks, Naomi.  Get well soon!

[Balletomanewithoutacause]

Mikhail Kryuchkov has posted some videos taken from the wings of his June 11 Tokyo performances as The Evil Genius in Swan Lake. Sorry the second video was posted twice. Mikhail is still listed as a member of the corps.

 

Edited June 16, 2017 by Lexy

[Balletomanewithoutacause]

This is the third video of Mikhail that I had meant to post:

 

 

[Balletomanewithoutacause]

And here's something interesting, an interview by a Japanese magazine of Natalia Kasatkina (with Yulia Stepanova) apparently having to do with this commemorative tour of Japan.

 

 

Kasatkina was (among other things) a founder with Vladimir Vasiliev of the Moscow Classical Ballet company http://www.classicalballet.ru/eng/about/ I would love to know more about her and why she was in Japan for this tour.  Yulia doesn't say which magazine, but perhaps one of our Japanese speakers could look at the 3rd photo which apparently says something about the event, and perhaps keep an eye out for the article when it's published.  Many thanks in advance!

Edited June 16, 2017 by Lexy

[Balletomanewithoutacause]

I meant to say Kasatkina *is* not *was* as she is obviously very much alive.