Bolshoi Ballet - Don Quixote, London 2019

[DanJL]

I haven't seen any comments on the opening night yet, but I was there and thoroughly enjoyed! First time I've seen the Bolshoi production (or any production other than Royal Ballet) so I don't have a base to compare to, but thought Shrainer and Tsvirko both danced well - Tsvirko definitely the more confident of the two. A few untidy endings in places from Shrainer but overall I enjoyed her dancing. Lots of wonderful dancing from the rest of the company as ever!

[alison]

Thanks for starting the thread, DanJL: I'd forgotten it had started yesterday.

[Beryl H]

I only saw the first 2 acts as I was hemmed in and it was running late, but thought the staging and scenery were brilliant, I had seen this production at the cinema but it looked even better in the theatre, the scenery for the tavern scene was the least good, and of course I didn't see the last act, but the opening scene and the vision scene were spectacular and so well lit!  Have a good getaway seat tonight so will stay to the end!

For me the Bolshoi are at their awesome best in this ballet, the female Spanish dancers' backbends are amazing as ever, loved Shrainer and Tsvirko,

she had to improve from last time and she did, very much so, they looked so happy too which makes all the difference, very much looking forward to tonight and seeing Ekaterina Krysanova and David Motta Soares, who is new to me!

[HelenLoveAppleJuice]

I was there last night as well.

It is the 3rd production I have seen in person (San Francisco,  RB) and most enjoyed  one. I had attended 4 RB DQ in this spring. Never get tired of Minkus. And thanks god I can enjoy the music smoothly this time...

If it comes to only the costumes, staging and the story-telling, I prefer Bolshoi to RB as much as I prefer RB's Swan Lake design to Bolshoi's. The color blends better. The 2nd act is great. I don't want to be that critical but I really have a feeling that RB's 2nd act is not...in a good shape... 

 

DQ in my eyes is the one of the most technical changeling production for the company involves so many difficult solo roles( bayadere is my other vote)  and Bolshoi is certainly showing off deepth in the company.

 

I will also go for tonight DQ. I will write more after that. But some highlights of the moments I enjoyed most last night

- Anna Tikhomirova and Ruslan Skvortsov! Anna is the true star last night (!!) and the best street dancer I have seen in person. (The young Nela in Tamara's recording is my another favourite). Skvortsov did some very amazing solos. But the audience was lukewarm to him comparing to Anna and the principles.

- Gypsy Dance solo! WOW finally I see some production gets the Gypsy Dance mood *right*. I visited Spain several times attending Gypsy performance. And they told me that the flamingo or Gypsy arts is trying to express the feeling, often a mix of depression and struggle with a bit of hope because of their people's history. And a good dance will tell you a story, no matter there is singing or not. Many ballet (and other form, like some Opera) productions just portrayed Gypsy dances straight as a spicy dance without the emotion telling. So I really like this one.

- All other Spanish dances! (Again sadly the audience reacts lukewarm if it is an adagio. I tried to applause as much as I could!)

- The dream scene! Although I watched recording several times. It is more amazing in person! And the Queen, Cupid and 3 leading soloists really stood out. Good 5 (or 6) Italian fouettes! Have seen Italian fouettes for many times in the past year and half of them failed much or little. So I am very impressed because she is just at artist rank in the company.

 

--Last--

I agree with DanJL. Margarita Shrainer and Tsvirko both danced well and Tsvirko better. 

 

I have not got Shrainer that much. She had Kitri debut on the Bolshoi Theatre tour to London in 2016 but I did not see that one. I read in some other places that she is considered as a replacement of Osipova in Bolshoi and even better in figure. This time I saw her in Swan Lake Spanish dance and Kitri. But I don't get any of that idea. In terms of acting and jumping skills, I don't think that she is at the same level as Osipova did when she was in Bolshoi at similar age. She acted sunny and chicky as a lovely Kitri whenever she is not dancing. But when dancing starts, especially her solos, I felt she was not that confident and sometimes not synced to the music in best form. Of course she did some stunning poses but I expect more from her as a first soloist of Bolshoi (comparing to Daria Khokhlova and Anna Tikhomirova). Thanks to the production. Anna, the street dancer only danced a few minutes in Act 1 not like in RB its role expends. Otherwise I fear Shrainer would be shadowed. She is no doubt a promising dancer. But to my eyes many others in Bolshoi deserve a better share of  chance.

 

Edited August 16, 2019 by HelenLoveAppleJuice

[HelenLoveAppleJuice]

BTW Thursday opening night performance was originally scheduled for Ivan Vasiliev when booking opens. Although he may not in his peak, he certainly has a great reputation in Basilio. I was under impression that he withdraw because of injury. 

But according to his personal website, he is dancing at the moment. https://ivanvasilievmp.wordpress.com/next-performances/

I don't quite understand why he is replaced.

[Shade]

Helen I doubt that Vasiliev was replaced - he may have just been committed elsewhere.

i think there is a bit of hype about Shrainer but she is no Osipova. 

Edited August 16, 2019 by Shade
Addition

[annamk]

A few thoughts from Thursday and last night. 

 

The production is sunny and joyful, after the initial scene with the doddery Don Q & Sancho Panza, the lights go on and the stage is filled to bursting with colourful dancers. I felt as though I smiled all evening on Thursday. The reviews I have read so far may only have been 3 stars but I agree with my friend who said she got more than 3 stars worth of enjoyment out of it. 

 

I enjoyed the performances of the leads. Shrainer is good dancer with a nice jump, her fouettes were strong except for the untidy finish and she has a warm smiley presence. Tsvirko has a strong stage presence but for me his acting was slightly too hammy and his dancing slightly underwhelming. Some of the partnering, the lifts particularly ,was wobblier than I would have expected from a dancer of his experience. 

 

On Friday evening  Basilio was David Mottta Soares, a later addition to the casting. He''s a young (22) Brazilian who finished his training at the Bolshoi Academy and then joined the company. Although he is still only an artist (although surely not for long) he has already danced a number of lead roles in Moscow - Albrecht, Franz, Romeo. From his performance last night it was easy to see why he has been singled out. He is a tall, slender dancer with great elevation, an excellent turner he finishes neatly, he partnered well (no trace of nerves, no problem with those fiendish one handed lifts). His Kitri, the formidable and experienced Ekaterina Krysanova , was clearly delighted with him, warmly embracing him at the curtain calls. Krysanova herself was faultless in dancing and characterisation; I know fouettes aren't the be all and end of a performance but Krysanova's speed and attack was quite astonishing - as my friend said it was all over in 60 seconds. 

 

Noteworthy performances over the 2 evenings from Daria Khokhlova (Kitri's friend), Biktimirov (Espada) Vlashinets (Street Dancer) Sharova (Mercedes). 

 

I'm not sure that I think all the changes in this 2016 production are for the better. Maybe my memory is faulty but I think that some of the choreography is less spectacular than it used to be. 

 

[Lizbie1]

27 minutes ago, annamk said:

Shrainer is good dancer with a nice jump, her fouettes were strong except for the untidy finish and she has a warm smiley presence.

 

I had bigger reservations about Shrainer in Spartacus, but she either fell out of a pirouette early on in it or *looked* as if she had. Perhaps she's another of those who are possibly struggling with the stage?

[Shade]

Krysanova is the best Kitri of this tour - she should have been given the opening night. I was impressed with Soares in the swan lake that I saw.

[fillebiengardee]

Fabulous and super-confident Kitri from Ekaterina Krysanova - she really appeared to enjoy herself and her lovely, elegant partner last night.  I agree with Anna MK above: the fouetté's were dazzle dazzle and I usually don't look forward to them because of the risk and circus factor but Krysanova is such a virtuoso, you can relax and get a real thrill out of her: even though she has such long legs, they're always so precise and so speedy. I also loved her understated and very musical Dulcinella variation in Act 3 - really filling out the phrases with her arabesque.  

 

All the Spanish and Flamenco ladies' dancing was superb too - stylish and indulgent as well as frosty and controlled.

 

I'm also looking forward to Yulia Stepanova tonight because I love her saucy act and she's so, so beautiful.

[Beryl H]

Last night I forgot my "fouettes aren't everything" stance too, possibly the fastest and most brilliant I've ever seen with Ekaterina Krysanova smiling all the while, couldn't believe what I was watching!

[alison]

Me too!  I was applauding loudly along with everyone else  

[FionaM]

Krysanova was fabulous in every way last night as Kitri in Don Q.  Fabulous attack, energy, classical lines and fiercely fast fouettes.  David Motta Soares was thoroughly engaging with her, and my word he is a beautiful boy/man and dancer.  His partnering has improved significantly and he had no problem with strength in the one handed split leg lifts.  He thoroughly charmed the audience by holding the rose from  Krysanova’s bouquet in his teeth.  He is a first soloist now, having skipped soloist rank from corps.  Agree the two of them had super chemistry and David played all the comedic bits so naturally. 

[LinMM]

I remember seeing Osipova and Vasiliev in Bolshoi Don Q a few years back and was on the edge of my seat watching the sheer speed of her fouettés and other turns down the stage ....so get that excitement ! Don Q is of course the perfect ballet for some over the top balletic moves!! 

[maryrosesatonapin]

We enjoyed today’s Don Q matinee – Sevenard/Belyakov.  Her Kitri was sweet and playful but she was certainly not the best dancer on the stage.  The athletic and elegant Belaykov showed his acting ability by being so very different from the Crassus we had seen a couple of weeks ago, and today was convincing as the amusing, romantic and penniless barber.  He really inhabited the role of Basil – even during the times when he and his love were just sitting watching others dance, such as in the tavern scene, he was vivacious and full of realistic little touches, unlike Sevenard who sat smiling woodenly throughout.  I think it was the FT critic who earlier described Belyakov as being ‘almost cartoonishly handsome’ and indeed he was, with his appropriately slick haircut which gave him an almost Elvis-like appearance!

One dancer who especially caught my eye was Ana Turazashvili as the Street Dancer; as soon as she made her entrance she commanded the stage, and gave an immaculate and mesmerising performance.  I don’t know how old she is, but do hope we see her again in bigger roles.  Maria Mishina, too, was charming as Cupid, and Oxana Sharova’s Gypsy was very well danced. Indeed, this ballet is full of meaty roles for a good number of dancers and provided plenty of colourful spectacle which was lapped up by today’s audience.  The orchestra were superb too – resulting in a thoroughly entertaining performance all round brimming with that Bolshoi vigour and joie de vivre.

[JNC]

I saw the final performance with Rodkin/Stepanova.

 

Firstly, I have only seen RB’s Acosta Don Q and I will admit I was not a fan. I enjoyed anything danced by Nuñez/Muntagirov and found O’Sullivan’s Cupid an absolute delight, but overall the story was silly, the music wasn’t great and the actual choreography didn’t excite me, with Kitri/Basil despite being the leads barely in the ballet! 

 

I thought maybe the Bolshoi would do a better job but I think I may have actually preferred Acosta’s! I felt I wasn’t as dazzled by the dancing overall and the bits I did enjoy were few and far between (in both RB/Bolshoi in my opinion). 

 

Poor Stepanova took a bit of a trip in her opening solo. She recovered fine, and was technically good despite this but I didn’t feel any chemistry between her/Rodkin. There was some good acting and comedy in Act 1 between the leads but after that there were no real sense of the characters. 

 

Rodkin was a highlight - I’ve not seen him before and he was flawless. I feel the leads in DQ are severely underused, and in this case doubly with Rodkin as he barely appears in Act 2, whereas Stepanova appears in the dream sequence. 

 

I did enjoy the ‘spanish’ style dancing most - a fantastic solo with someone in a white dress playing the castanets was executed wonderfully and I enjoyed the matadors and Mercedes pieces. (Saying that I preferred Hirano!) 

 

Nothing else really got me going to be honest, I’m not a fan of slapstick anyway so whilst I thought the DQ/Sancho/duke characters did an excellent job, this is not what I want to see in a ballet. The dream scene choreography seemed uninspired. Clearly I’m not a fan of DQ, but even then I felt I preferred the RB’s version in parts and unfortunately I couldn’t take to Stepanova and kept comparing her to Nuñez (who I thought was great as Kitri).

 

I’m glad I went, if nothing else to see Rodkin, and also to convince me that unfortunately DQ clearly isn’t for me and even the Bolshoi can’t redeem it. I know DQ is a favourite with a lot of people and can appreciate the lighthearted fun and it does have pieces which are great but we can’t all like everything I suppose! 

 

apologies for any typos etc, quite tired but wanted to get something noted before I forgot! 

[Rob S]

1 hour ago, JNC said:

 

Poor Stepanova took a bit of a trip in her opening solo. She recovered fine, and was technically good despite this......

 

From my view in the amphitheatre it looked like she lost her balance while kind of kneeling 

[Bruce Wall]

Did anyone else notice that one of the lads of the Fandango team (stage left side) - all in their glistening white - entered this evening - immediately after the magnificent Vitaly Biktimirov and Oxana Sharova dazzled in the Bolero - wearing a white construction helmet instead of the apportioned hat such as was donned by the remainder of his brethren.  I wonder - if anything - what he might have been trying to tell us? 

 

Edited August 17, 2019 by Bruce Wall

[Rob S]

47 minutes ago, Bruce Wall said:

Did anyone else notice that one of the lads of the Fandango team (stage left side) - all in their glistening white - entered this evening - immediately after the magnificent Vitaly Biktimirov and Oxana Sharova dazzled in the Bolero - wearing a white construction helmet instead of the apportioned hat such as was donned by the remainder of his brethren.  I wonder - if anything - what he might have been trying to tell us? 

 

Well it was changed in time for the curtain call sadly

 

 

Edited August 18, 2019 by Rob S

[Scheherezade]

I saw Friday’s Don Q, having originally booked for Krysanova/Lantratov, whose chemistry was so electric last time round in Taming of the Shrew, but was interested nevertheless to see Motta Soares.

 

My views? Well, first of all, I was there for *that* Osipova/Vasiliev performance some years back now, for me the benchmark for this piece, and despite their considerable and, yes, enjoyable efforts, Friday’s cast didn’t match up.

 

Having said that, they far surpassed the woeful Smirnova casting last time round so not the absolute best but far from the worst.

 

Observations generally were that, as expected, the colourful costumes and the added oomph in the orchestration were a notch up on the RB production, as were the stunning backbends of the Spanish dancers, but beyond that the revised RB production more than held its own.

 

Krysanova was a fiery Kitri, her dancing and characterisation hitting the nail throughout but, for me, the partnership with Motta Soares didn’t have the right balance. Yes, he had speed, panache and managed the one handed lifts with aplomb but he was just too nice a Basilio, not enough Jack-the-lad. The sparring was missing, the tit for tat that gives the edge to their relationship. Put simply, this Kitri would have eaten this Basilio for breakfast, spat him out and moved on to the next contender.

 

I hope that doesn’t sound too critical as I do look forward to seeing Motta Soares in the future when he has had a chance to develop and to hone his acting skills, on the topic of which it was interesting to note that the acting of the supporting dancers had moved on from the barely-animated wallpaper of previous years although I wasn’t sure about some of the other choreographic revisions. There was, for instance, what appeared to be a medieval tableau in a gypsy caravan (if it was there before I have obviously missed it). What was all that about?

 

So, to summarise, although I wasn’t blown away I did enjoy this cast and production, I was glad that I attended and happy that this Bolshoi visit ended on a high. 

 

 

Edited August 18, 2019 by Scheherezade

[capybara]

8 hours ago, Bruce Wall said:

 - immediately after the magnificent Vitaly Biktimirov and Oxana Sharova dazzled in the Bolero - wearing a white construction helmet instead of the apportioned hat such as was donned by the remainder of his brethren.  I wonder - if anything - what he might have been trying to tell us? 

 

 

Biktimirov was bare-headed on Friday, I thought? And I’m afraid he was one of the performers whom I found well below impressive. Not so his partners who were amazing.

[Scheherezade]

Agreed Capybara. I thought that Hirano fared extremely well by comparison. More riveting by far. 

[Bruce Wall]

1 hour ago, capybara said:

 

Biktimirov was bare-headed on Friday, I thought? And I’m afraid he was one of the performers whom I found well below impressive. Not so his partners who were amazing.

 

Capybara, I would be grateful if you had quoted my entire entry.  I was NOT referring to Biktimriov - who, it is true, I have always admired - but, as clearly noted, 'one of the lads of the Fandango team (stage left side)' in terms of his unique headdress.   Somehow I can't imagine as consequential an artist as Biktimirov - who clearly was NOT in the Fandango section - donning such.  Blessedly Rob S had no difficulty in figuring my FULL statement out for which much appreciated thanks as much for that as for your stunning photo.  So beautifully framed.  

 

Edited August 18, 2019 by Bruce Wall

[capybara]

Whoops - apologies, Bruce. I was clearly waylaid by the significant difference in our perceptions of Biktimirov.

[Sim]

9 hours ago, Rob S said:

 

From my view in the amphitheatre it looked like she lost her balance while kind of kneeling 

Yes....she executed a backbend whilst on her knees, lost her balance and rolled over onto the floor.  

[fillebiengardee]

8 minutes ago, Sim said:

Yes....she executed a backbend whilst on her knees, lost her balance and rolled over onto the floor.  

 

This was a very awkward moment, to be sure, but thankfully wasn't a crash and there was no injury.  However, I felt she rallied strongly and was on form in Acts 2 and 3.  By the end, she really seemed to enjoy herself and she received a lot of applause.   I suspect that having an early setback can be a relief to a dancer in a very exposed role: they think the worst is behind them and they can only improve from here; also the audience is now more on their side.

 

I did enjoy this performance, but it wasn't as dazzling as the previous night's and I don't think Rodkin was in his element.  I just don't see him as a humorous person, whereas Motta Soarer, Ivan Vasiliev, Carlos Acosta are funny and like messing about on stage.  Rodkin is better in straight-faced roles, like Spartak.

 

I like this production and this series a lot.  I think I have seen the best (Osipova/Vasiliev), which made everyone laugh out loud and catch their breath, but Ekaterina Krysanova and Motta Soares were very, very special and the production is fast moving and has lots of highlights.  The costumes are very rich and characteristic and the dream sequence is extremely pretty.  I'm guessing that a lot of the pantomime involving Don Q (especially the new travelling theatre that Scheherezade mentions above) must be episodes from the novel to bring the whole production a bit closer to source material but I haven't read up on this yet.

 

[AYSHEL]

23 hours ago, maryrosesatonapin said:

We enjoyed today’s Don Q matinee – Sevenard/Belyakov.  Her Kitri was sweet and playful but she was certainly not the best dancer on the stage.  The athletic and elegant Belaykov showed his acting ability by being so very different from the Crassus we had seen a couple of weeks ago, and today was convincing as the amusing, romantic and penniless barber.  He really inhabited the role of Basil – even during the times when he and his love were just sitting watching others dance, such as in the tavern scene, he was vivacious and full of realistic little touches, unlike Sevenard who sat smiling woodenly throughout.  I think it was the FT critic who earlier described Belyakov as being ‘almost cartoonishly handsome’ and indeed he was, with his appropriately slick haircut which gave him an almost Elvis-like appearance!

One dancer who especially caught my eye was Ana Turazashvili as the Street Dancer; as soon as she made her entrance she commanded the stage, and gave an immaculate and mesmerising performance.  I don’t know how old she is, but do hope we see her again in bigger roles.  Maria Mishina, too, was charming as Cupid, and Oxana Sharova’s Gypsy was very well danced. Indeed, this ballet is full of meaty roles for a good number of dancers and provided plenty of colourful spectacle which was lapped up by today’s audience.  The orchestra were superb too – resulting in a thoroughly entertaining performance all round brimming with that Bolshoi vigour and joie de vivre.

 

 

I have a bit of issue with this comment by maryrosesatonapin. It implies that Sevenard was not really good enough. Like three of the four Kitri's this time she made her mark more in the classical sections of the role rather than the demi-caractere. Only Krysanova filled all aspects of the role as one would expect. However Sevenard's classical dancing was of such a good order it was an excellent performance overall and the audience responded well. Her demi-caractere was solid enough, just that her classical work was of such good quality it clearly revealed that her future probably lies in lyrical parts ( Aurora, Nikiya, Giselle) rather than demi-caractere soubrette style roles ( Coppelia,Fille etc). I strongly disagree that she was wooden. From the conversations I had in the intervals she certainly seems to have acquired a fair number of converts to her performances based on this Don Q. I know it is a bit of a bore to go on and on about fouettes but she and Krysanova packed an incredible punch to round off the athletic aspects of the evening. Sevenard full set of only doubles throughout crowned by a triple finish at great speed was amazing. All credit to Pavel Klinichev for speeding up the end of the male opening coda to raise the tension of expectation for the fouettes - which both of these dancers completely fulfilled. 

Stepanova in the evening danced beautifully in the classical elements with a wonderfully judged solo in the Dulcinea act - she really showed off her Maryinsky heritage there. The slip in Act one, which was not due to bad dancing, but just a loss of footing in a preparatory moment at least it did not rob her confidence for the rest of the evening. I would just like to point an interesting technical element in David Motta Soares' performance on Friday. He took all of his pirouette preparations from SECOND position and not FOURTH as is customary. Russian Dancers of earlier generations (Yuri Soloviev and Nureyev in his early years are good examples) used to do this. It centres the pirouette very well and is easier on the spine. Fascinating to see such a young - and very promising dancer perform this way. 

I enjoyed Ana Turazashvili's performances throughout this season but was rather underwhelmed by her Street Dancer. She is a fine artist and can deliver a solo extremely well, but roles like Street Dancer, Myrthe etc are almost of ballerina standard and I felt she wasn't really able to command the 10 minutes of the stage or so that roles at this level demand. I am not criticising her dancing - which is very fine indeed. The Russian ballet has 3 levels and these middle level roles require a more enduring sense of stage craft for them to truly make an impact. Whilst I enjoyed her dancing in itself you only look at Tikhomirova to understand the ability to 'hold' an audience for such a period of time. To defend Turazashvili, who I admire greatly, her performances in Swan Lake - as a bride and in the pas de trois, and her lovely final solo in Don Q mark her out as a superb performer at that level and a real joy to watch.

[JNC]

39 minutes ago, fillebiengardee said:

 

This was a very awkward moment, to be sure, but thankfully wasn't a crash and there was no injury.  However, I felt she rallied strongly and was on form in Acts 2 and 3.  By the end, she really seemed to enjoy herself and she received a lot of applause.   I suspect that having an early setback can be a relief to a dancer in a very exposed role: they think the worst is behind them and they can only improve from here; also the audience is now more on their side.

 

Whoops yes sorry, I guess I used the phrasing 'trip' rather liberally, I saw was a sort of falling forward movement and the audience collectively gasped. As others have said, I felt she recovered quickly and well and am just glad it wasn't worse and there was no injury. I think we get so used to seeing flawless performances that we forget dancers are human and you can't be perfect all the time. Most important is that they don't injure themselves, and then as long as the dancer recovers well, and it doesn't happen continually throughout a performance I am very sympathetic to these things and for me I don't think it impacts the overall performance. 

 

I think despite my critical thoughts above (I do try to be honest and it would be weird if we loved absolutely everything we saw and felt we could only positively comment on things) I think Scherezade summed up my feelings well below - 

 

9 hours ago, Scheherezade said:

So, to summarise, although I wasn’t blown away I did enjoy this cast and production, I was glad that I attended and happy that this Bolshoi visit ended on a high. 

 

 

[Don Q Fan]

Well, as my pen name suggests Don Q is my favourite ballet.  This latest version of DonQ from the Bolshoi (which they first brought in 2016) is not as good IMHO as the previous version which was much better as that lacked the rather incongruous jig dance which is possibly better suited to Corsaire or a panto.  That aside I enjoyed both Friday night (Krysanova/Soares) and Saturday matinee (Sevenard/Belyakov).  My only gripe for the matinee was the Queen of the Dryads did not dance any Italian Fouettes - technically really hard so I guess they were beyond the capability of Alexandra Trikoz - even then those that were danced on Friday by Olga Marchenkova were not perfect.  Really in my experience the Queen of the Dryads is a Principal or strong First Soloist role.  I know the Royal Ballet dancers struggled with this in the first run they danced of DonQ but the last run they seem to have it sorted.  

Krysanova's fouettes were absolutely amazing, with triples thrown in, and Sevenard managed her set well too.  I really enjoyed seeing Soares and found him to be a very elegant dancer.  Artemy Belyakov is, I think, a natural Basilio he really suited the role and gave a strong performance yesterday afternoon. The Grand Pas variations danced on Friday by Anna Tikhomirova and Ana Turazashvili were lovely and those 2 ladies are really great dancers and I always love seeing Anna and Ana.   I found both Espadas enjoyable (Biktimirov on Friday and Alexeyev on Saturday) but Vitaly Biktimirov will always be a favourite if I can't have Andrei Merkuriev!

The matinee was also the first time I have ever seen the Bolshoi Don Q with a different DonQ! Nikita Elikarov made a great job of the role and has clearly been well tutored by the usual Don, Alexei Lopaervich, but then he has improved on what I already thought was perfection, so the role is safe in his hands as retirement (or fewer shows) must surely be looming for Loparevich.  A spirited young dancer Elikarov was too when I met him at the stage door after and he must be one of the tallest dancers in the company.  

I have enjoyed the Bolshoi Season,  but I must lament the woeful under use of Anna Tikhomirova, how I would have loved to see her dance Kitri!  

I agree with the post above that nothing will ever quite compare to "that Friday night" at ROH (was it 2009?) when Osipova and Vasiliev wove their magic and brought the house down with their electric performance.  They did the same again on the Sunday matinee of that run too.  However, the Friday was the show that really was an extra special performance, it is one that lives long in the memory and probably I will never see the likes of again in my lifetime.  Wow that was a night to remember and no, nothing else comes near it!

 

A few photos from Friday and Saturday Matinee:-

Krysanova/Soares

Vlashinets/Biktimirov

Krysanova (as the Dream Scene's Dulcinea)

Anna Tikhomirova and Ana Turazashvili

 

From Saturdays Matinee

Sevenard/Belyakov

Kristina Karasyova and Ivan Alexeyev

Erick Swolkin, Daria Bochkova, Nikita Elikarov, Eleonora Sevenard and Artemy Belyakov

Edited August 18, 2019 by Don Q Fan

[Shade]

Agree Don Q fan those Osipova/Vasiliev Don Q were the be benchmark for me and I count myself very lucky to have seen them. I regard them as once in a lifetime events. Of course I can still enjoy other performances and perhaps it’s unfair to compare.

[Beryl H]

14 hours ago, Rob S said:

 

From my view in the amphitheatre it looked like she lost her balance while kind of kneeling 

 

I've seen so many Kitri's fall in that opening solo, the worst was Svetlana Zakharova some years ago whose Basilio rushed onstage to comfort her (although he hadn't officially entered) until she was ready to continue, the Bolshoi girls run onstage so fast!

[SusanR]

6 hours ago, Bruce Wall said:

 

Capybara, I would be grateful if you had quoted my entire entry.  I was NOT referring to Biktimriov - who, it is true, I have always admired - but, as clearly noted, 'one of the lads of the Fandango team (stage left side)' in terms of his unique headdress.   Somehow I can't imagine as consequential an artist as Biktimirov - who clearly was NOT in the Fandango section - donning such.  Blessedly Rob S had no difficulty in figuring my FULL statement out for which much appreciated thanks as much for that as for your stunning photo.  So beautifully framed.  

 

I am a big fan of Biktimirov too, Bruce. Sorry I didn't get to see him this time round!

[SusanR]

2 hours ago, Don Q Fan said:

Well, as my pen name suggests Don Q is my favourite ballet.  This latest version of DonQ from the Bolshoi (which they first brought in 2016) is not as good IMHO as the previous version which was much better as that lacked the rather incongruous jig dance which is possibly better suited to Corsaire or a panto.  That aside I enjoyed both Friday night (Krysanova/Soares) and Saturday matinee (Sevenard/Belyakov).  My only gripe for the matinee was the Queen of the Dryads did not dance any Italian Fouettes - technically really hard so I guess they were beyond the capability of Alexandra Trikoz - even then those that were danced on Friday by Olga Marchenkova were not perfect.  Really in my experience the Queen of the Dryads is a Principal or strong First Soloist role.  I know the Royal Ballet dancers struggled with this in the first run they danced of DonQ but the last run they seem to have it sorted.  

Krysanova's fouettes were absolutely amazing, with triples thrown in, and Sevenard managed her set well too.  I really enjoyed seeing Soares and found him to be a very elegant dancer.  Artemy Belyakov is, I think, a natural Basilio he really suited the role and gave a strong performance yesterday afternoon. The Grand Pas variations danced on Friday by Anna Tikhomirova and Ana Turazashvili were lovely and those 2 ladies are really great dancers and I always love seeing Anna and Ana.   I found both Espadas enjoyable (Biktimirov on Friday and Alexeyev on Saturday) but Vitaly Biktimirov will always be a favourite if I can't have Andrei Merkuriev!

The matinee was also the first time I have ever seen the Bolshoi Don Q with a different DonQ! Nikita Elikarov made a great job of the role and has clearly been well tutored by the usual Don, Alexei Lopaervich, but then he has improved on what I already thought was perfection, so the role is safe in his hands as retirement (or fewer shows) must surely be looming for Loparevich.  A spirited young dancer Elikarov was too when I met him at the stage door after and he must be one of the tallest dancers in the company.  

I have enjoyed the Bolshoi Season,  but I must lament the woeful under use of Anna Tikhomirova, how I would have loved to see her dance Kitri!  

I agree with the post above that nothing will ever quite compare to "that Friday night" at ROH (was it 2009?) when Osipova and Vasiliev wove their magic and brought the house down with their electric performance.  They did the same again on the Sunday matinee of that run too.  However, the Friday was the show that really was an extra special performance, it is one that lives long in the memory and probably I will never see the likes of again in my lifetime.  Wow that was a night to remember and no, nothing else comes near it!

 

A few photos from Friday and Saturday Matinee:-

Krysanova/Soares

Vlashinets/Biktimirov

Krysanova (as the Dream Scene's Dulcinea)

Anna Tikhomirova and Ana Turazashvili

 

From Saturdays Matinee

Sevenard/Belyakov

Kristina Karasyova and Ivan Alexeyev

Erick Swolkin, Daria Bochkova, Nikita Elikarov, Eleonora Sevenard and Artemy Belyakov

Fabulous photos, as usual, Don Q Fan