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Mariinsky Ballet: Swan Lake, London 2017


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Have to say I found the Saturday matinee sadly lacking in oomph. Maybe it was my front row balcony position coupled with a far too warm auditorium (nearly fell asleep) but I got little emotion from either Osmolkina or Latypov. It all fell a bit flat for me. The swans were good but I've seen them even better. I didn't come away feeling wow like the last time they were here. Funny how we all see a different ballet! 

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Belatedly. For me, Shklyarov/Tereshkina on Monday reached a different level. I didn't know they had been regular partners and perhaps that explains why the partnership seemed more comfortable, more equal. To my eyes, Tereshkina's Odette was softer and more sympathetic. Shklyarov posted a photo of their joint curtain call on his instagram with the comment, in thanking Tereshkina: "I think this was the break we needed..." ('break' as in interruption). An interesting insight perhaps into creative partnerships. 

 

I tend to prefer Benno to the Jester because, in theory, Benno gives scope for deeper characterisation and a choreography that is more than turns and jumps. This theoretical preference yields, of course, to admiration for actual performances such as Vyacheslav Lopatin during last year's Bolshoi visit. The Sergeyev version has almost overcome this prejudice against jesters. In particular, I thought Monday's Jester, Vladislav Shumakov, gave us a someone who was very believably an integrated member of the Court, quite poignant at times - as well as performing the "party tricks".  I'd be interested to see him in a dramatic role which wasn't mainly jumping. 

 

 

 

 

 

 

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Thank you Johnpw, you have said it all for me! I had a wonderful evening and like you enjoyed Shumakov contribution as jester. He was a real person and managed to  appear to be a man with feelings as well as perform some amazing feats.

Tereshkina was a beautiful Odette, such a contrast to last weeks Kitri, and Shklyarov    Showed technique and characterisation. A lovely partnership for me. I :do like the swans in tutus, although I had a little giggqle in act 4 when they all posed, back to the audience, kneeling, one leg extended behind, and all we saw was a rear surrounded by a frill. Difficult to describe clearly! However what a magnificent corps. I did hear some shoe squeak but the overall impression of Russian dancers on pointe is one of glorious line where legs and shoes blend as one. No ugly feet, no soft shoes. Is there something different in their shoes? Again I was troubled by some of the men's landings from jumps by a heavy sound. It seems worse just forward from centre back. In other areas they are almost soundless. It has puzzled me before.

Have so enjoyed ballets by Russian dancers and the slightly old fashioned feel and am now looking forward to our home company in the Autumn. 

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Thanks first of all for the guidance on finishing times. Another late start tonight but a perfectly timed cab! 

 

Any my thoughts from anyone on the music? The tempo seemed considerably faster for some bits vs the Royal Ballet at least and music on cd etc going back as long as I can remember... 

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Just home after a not terribly enjoyable performance.  Let me preface by saying that my overall feeling was how much I miss RB, their narrative ballets and their modern masterpieces.  I know I am still something of a novice so am therefore unlikely to pick up on all the wonderful examples of exemplary technique from the Marinsky, but I was left cold.  (It was certainly the only bit of me that was cold - the auditorium was stifling tonight with everybody fanning themselves madly.  Has the air-conditioning broken down or did they not bother to turn it on?  Everything I was wearing will now have to go to the cleaners tomorrow which is another expense.)

 

Certainly a lot to admire.  The corps is absolutely magnificent.  I went with a friend who has only seen one ballet before and yet she commented on their impeccable timing and co-ordination.  Their lines are perfect and as for their symmetry...A little disappointed with Osmolkina who danced beautifully but for me with very little differentiation between the two roles and zero chemistry or even recognition between her and Kim.  I appreciate the Prince has a dull role to play and, as far as I could tell, he was a wonderfully supportive partner, but......Where there should have been drama/sadness there was just, well, dancing.  Pretty good dancing, I agree, but never for one moment did I think there was a love affair going on.

 

Act II seemed a pointless exercise in irrelevant sideshows and next time I'll sit it out in the bar!  Rothbart was terrific but injected more of a pantomime feel rather than any real menace and, quite, honestly, I was glad when it was all over.  The endless applause and bows every few minutes extended the performance till nearly 10.45.  Elderly lady next to me had to be helped out as she was faint from the heat which really was uncomfortably sticky.

 

I appreciate others who have a more in-depth understanding will have enjoyed the night but I'm almost dreading Bayadere now!

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On 8/1/2017 at 21:25, Don Q Fan said:

Have to say I found the Saturday matinee sadly lacking in oomph. Maybe it was my front row balcony position coupled with a far too warm auditorium (nearly fell asleep) but I got little emotion from either Osmolkina or Latypov. It all fell a bit flat for me. The swans were good but I've seen them even better. I didn't come away feeling wow like the last time they were here. Funny how we all see a different ballet! 

See my post.  Osmolkina was a beautiful dancer but I agree there was zero emotion.

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I saw the Mariinsky Swan Lake early in my ballet-watching days and have never wanted to see it again (same with Bolshoi version).

 

I thought it was just about technique and no emotion.  I can't stand jesters.

 

A while later I saw a review of Assylmuratova dancing O/O and wished I had been able to see her.  It seems to me that people who are more used to our more dramatic/emotional performances find the Russian productions a bit cold unless someone exceptional dramatically is performing.

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How lucky we were to see Asylmuratova guest with the Royal Ballet in the early nineties. She danced all the great classics. Lac, Beauty, Giselle, Bayadere, Raymonda. She also danced Juliet, Manon and Natalia Petrovna. A truly great dancer given the opportunity to show us what she could do in RB productions.

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2 hours ago, Jan McNulty said:

I saw the Mariinsky Swan Lake early in my ballet-watching days and have never wanted to see it again (same with Bolshoi version).

 

I thought it was just about technique and no emotion.  I can't stand jesters.

 

A while later I saw a review of Assylmuratova dancing O/O and wished I had been able to see her.  It seems to me that people who are more used to our more dramatic/emotional performances find the Russian productions a bit cold unless someone exceptional dramatically is performing.

I only saw Assylmuratova once - think it was Bayadere - and was spellbound.  What a dancer and somebody who has never been bettered for me.

 

I was so disappointed last night and at times, dare I say it, bored.  We had nice seats, the audience was quite well-behaved but the evening never caught fire.  It is almost as if the Marinsky interpretation is caught in a time-warp which is difficult for some of us nourished on a diet of RB.  It was just some dancing, interspersed with bows and applause; no dramatic drive or tension at all.  I shan't bother with the Russians again, I'm afraid.  Anyone want some tickets for Bayadere??!!

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1 hour ago, penelopesimpson said:

I only saw Assylmuratova once - think it was Bayadere - and was spellbound.  What a dancer and somebody who has never been bettered for me.

 

I was so disappointed last night and at times, dare I say it, bored.  We had nice seats, the audience was quite well-behaved but the evening never caught fire.  It is almost as if the Marinsky interpretation is caught in a time-warp which is difficult for some of us nourished on a diet of RB.  It was just some dancing, interspersed with bows and applause; no dramatic drive or tension at all.  I shan't bother with the Russians again, I'm afraid.  Anyone want some tickets for Bayadere??!!

 

I only discovered ballet when a friend suggested we take our then 5 year old daughters to the RB. For years after that I thought the RB must be the best company in the world and when I first saw the Russians (I think it was the Bolshoi at the Coliseum) I really wasn't impressed, in fact I left at the intervals of Corsaire, & Romeo & Juliet. But then something changed & I think possibly it was discovering that the style of dancer I enjoyed at the RB did exist in the Mariinsky & Bolshoi, you just have to identify them. As with the RB there are some dancers that can make the stage come alive for you and some who can't seem to - these may be different dancers for different people it depends what appeals to you personally.  When you see a performance by the Russians with the dancers who have the qualities that move you, maybe then you can also begin to appreciate more that the general standard of the dancing is second to none. So I would say persevere with Bayadere - Kim is technically the best Solor but IMO the most complete all rounder (& my personal favourite) is Shklyarov who is ideally paired with the exceptional Tereshkina, so if you have a ticket for Friday 11th August I recommend you give it go. The Bayadere they danced  a couple of years ago in St Petersburg was one of the most thrilling performances I've ever seen anywhere. 

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1 hour ago, annamk said:

 

I only discovered ballet when a friend suggested we take our then 5 year old daughters to the RB. For years after that I thought the RB must be the best company in the world and when I first saw the Russians (I think it was the Bolshoi at the Coliseum) I really wasn't impressed, in fact I left at the intervals of Corsaire, & Romeo & Juliet. But then something changed & I think possibly it was discovering that the style of dancer I enjoyed at the RB did exist in the Mariinsky & Bolshoi, you just have to identify them. As with the RB there are some dancers that can make the stage come alive for you and some who can't seem to - these may be different dancers for different people it depends what appeals to you personally.  When you see a performance by the Russians with the dancers who have the qualities that move you, maybe then you can also begin to appreciate more that the general standard of the dancing is second to none. So I would say persevere with Bayadere - Kim is technically the best Solor but IMO the most complete all rounder (& my personal favourite) is Shklyarov who is ideally paired with the exceptional Tereshkina, so if you have a ticket for Friday 11th August I recommend you give it go. The Bayadere they danced  a couple of years ago in St Petersburg was one of the most thrilling performances I've ever seen anywhere. 

Thank-you for that, Anna.  I do indeed have a ticket for the 11th and having seen Shklyarov in Marguerite and Armand a few weeks ago, so I will certainly attend.  I think that for me ballet absolutely has to engage me emotionally, otherwise I feel disconnected.  I am not well enough versed in technique to be able to sustain enjoyment on this alone although my amateur eyes could see how absolutely marvellous the technique in the corps is.  Their stillness, alone, is breathtaking.  However, I used to laugh at their need to take bows and be applauded every five minutes but now it more than irritates me - can they not understand that this habit absolutely wrecks the narrative and destroys any dramatic tension they may have built?

 

I can imagine that Kim is terrific as Solor and there was much to admire in his assured performance last night but little to engage with.  The pairing with Osmolkina was non-existent;  I saw nothing that told any kind of story although one has to admit that the 'happy ever after' ending does the production no favours.  

 

Your point about identifying with performers who you identify with is well made.  I am sorry not to have seen Kondaurova but looking forward to Tereshkina.

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I'm sorry about that MAB.  Do bear in mind that I don't have the in-depth knowlege of many other posters.

 

I also don't think I am talking negatively.  I am just expressing my personal viewpoint of a disappointing evening which did not fulfil my expectations of what I look for in a ballet.  It is just as probable that for many others, the performance entirely floated their boat.  It's a bit like when I went on holiday to a Greek island and hated every minute.  Nothing wrong with the island for sun-worshippers, sailors and those wishing to chillax - just absolutely the wrong holiday for somebody like me who looks for culture, architecture, good food and wine and variety.

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53 minutes ago, penelopesimpson said:

 It's a bit like when I went on holiday to a Greek island and hated every minute.  Nothing wrong with the island for sun-worshippers, sailors and those wishing to chillax - just absolutely the wrong holiday for somebody like me who looks for culture, architecture, good food and wine and variety.

 

Archaeology isn't culture?

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I believe this year we are witnessing the exacting standards set for generations by Vaganova and her successors are progressively dying at the Mariinsky ballet. I am very concerned about it. More and more dancers in the company counting  nearly 210 dancers, display the telling symptoms of this erosion. I have no answer for this except for the general apathy palpable in the company.

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23 minutes ago, Beryl H said:

It still started 10 minutes late (could someone explain why this happens every night?) but finished at 9.35pm.

 

 

The Russians are not famed for their punctuality - late starts are built in, to the degree that I got used to arriving at the Bolshoi only a minute or two before the advertised start time and not having to rush to buy a programme, deposit my coat and get to my seat. Even after that, I'd still be waiting for the conductor to make his entrance.

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I agree, for the most part, about the coldness of certain Mariinsky dancers' characterisation, but I did not think all of them were completely technically perfect. Kim, who I actually quite like, has made some minor, but obvious technical errors, Parrish similarly, and poor Osmolkina wobbled right out of her fouettes on Wednesday night, having had a slightly wobbly Act III anyway, and she had to improvise a few pirouettes to fill the rest of the music. Since we're criticising the Bolshoi as well here, and since so many of the Bolshoi's intake at the moment are the top graduates of the Vaganova Academy, rather than Bolshoi's own school, I think it's worth remembering all the disappointment and censure over the casting of Margarita Shrainer in Don Quixote last summer when she was so clearly technically unprepared. I think the audience can mostly forgive and forget all these technical wobbles and imperfections when the characterisation is good enough, but that clearly isn't the case for quite a few of these dancers. Anyone with access to YouTube can also see other, more established and well respected dancers of the Russian school, such as Skorik, Somova and even Tikhomirova (who I adore), being thrown into situations in their younger days where they clearly weren't sufficiently prepared emotionally or technically for the roles and thus made varying levels of mistakes. My point in all of this meandering is that I'm not sure it boils down to the simple idea that Russians have beautiful technique, but not enough characterisation or storytelling. It seems like there's been a more noticeable general decline in standards on this tour, and possibly the Bolshoi's one last year. I've been feeling more of a fond and mildly disappointed reminiscence towards 2011's tour this year than anything else.

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Thanks for your point about Osmolkina's fouettes on Weds.  I was pretty certain she made a hash of it but as my technical knowlege is still at amateur level, I didn't post it on here, even though it was noticeable to the audience.  I am surprised and would have thought that we deserved to see artistes at the top of their game on this tour.  As you say, mistakes can be overlooked if the performance has caught fire, but...

 

This makes it even more annoying that having booked for Tereshkina, I now won't be seeing her on Friday but have got Osmolkina again.  I think the Hochhauser's may find selling the Marinsky rather uphill next time around.

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It's surprising to read that the Russian dancers have technical weaknesses. British audiences have always been rather in awe of the 'big two' Russian companies. I saw an embarrassingly wobbly performance by a male principal (I think that he was from the Bolshoi) a few years ago. More generally, principal dancers from various other companies haven't impressed me as much as I had expected. I don't think that I'm being partisan when I say that there are plenty of dancers dancing in the UK companies who compare very favourably with dancers from other (overseas) companies which I have seen. As someone said above, you can forgive some technical weaknesses if the dancer really inhabits the role and brings the story to life but if s/he can't do that then the dancing needs to be pristine technically otherwise you feel short changed.

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I was really sad on Wednesday night when I was looking forward to seeing what Osmolkina would do with the fouettes, having read such lovely things about her performance on Saturday. Poor lamb; I knew things were going badly when she started travelling side to side (I normally have a very good view of travelling fouettes from the Upper Slips). Even the best dancers normally travel forwards and backwards quite a lot, but side to side is usually a bad sign. It is important to remember that fouettes are a bit of a party trick and that they come very naturally to some people and not at all to others. But they are now rather a crucial party trick for certain classical ballets, so it was unfortunate to see things fall apart like that from such a well-respected company on tour.

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Oh dear poor Osmolkina perhaps she has developed an injury ....however strong you are doing 32 fouetté S on one foot does take its toll sometimes and she has done them really well on another day apparently so something must have been up. Personally I hate the things!! 

And especially in Swan Lake.

I saw Monday's performance with Tereshkina and Shykylov and really enjoyed it inspite of standing after a day on the adult ballet summer school was attending....though that 75 mins or so before an interval was tough at times!

I really like Shykylov he has a lovely stage presence and acting ability just right to be believable ...great ballon in his jumps and a very good partner. I'd like to see more of him.

Tereshkina I thought had a good balance in her Odette role ....expressing the sorrow of not being free to be in her human form but retained the coolness to remind she is still under that spell. I did think her Odile was terrific and she did seem slightly more at home here eyes flashing ...the knowing looks ...the complete temptress..so in all very well contrasted roles and great dancing from her and definitely no problems with the fouettés ......must have feet of steel!! 

The pas de trois was one of the best I've seen in a while from any company so that was a treat.

I loved the animated swans swimming across the lake a nice touch.

I suppose I don't mind the happier ending battling with evil and winning etc but am rather fond of the more dramatic leap to the death into the lake and the pair then going off to the afterlife together forever on a swan! 

I agree with others about the constant stopping for applause ....though I know is more traditional in Russia it really is out of place in some ballets and especially Swan Lake in my view and can spoil the dramatic effect. Do they do this in Romeo and Juliet as well?

Just to add I was very happy with the Company on Monday myself but  I know occasionally one does see a disappointing performance ( with any company) and it's okay to express that of course but am not that happy about this general dismissing of "the Russians" For me that's far too much of a generalisation. 

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