A new production of The Pharaoh's Daughter

[Jeannette]

1 hour ago, The Sitter In said:

Pretty disgusting that Candeloro and Perdziola have taken Putin’s Penny to work in Gergiev’s stronghold no less.  But then, as Jooss shows us in The Green Table, in times of war, there are always profiteers.  There will be plenty of claims about ‘art being above everything’, but for these two to travel to Russia at this time is nothing less than reprehensible.

Perdziola, the set/costume designer, was in St Petersburg with Ratmansky. The sets and costumes were prepared before the war. It’s not fair to include Perdziola in this statement.

 

Candeloro - I don’t know.

[Angela]

Do we know if Perdziola agreed to use his sets or if they just use it? If he was paid already in 2021 and the Mariinsky can claim to act in accordance with the contract?

Many Western choreographers tried to stop the Russian companies dancing their works after the war started, but they had signed contracts with the theatres. And even if they had not, who would stop the Russian companies using the sets, costumes or choreography? Surely you can blame Candeloro, but I'm not so sure about the designer, so maybe it's better not to judge without sufficient information.

[Bruce Wall]

Robert Perdziola is as much a victim of criminal Russian whims as is Ratmansky.  Both are so hugely talented.  The horror of these actions - like so many currently aloft within Russian realms - can - and ultimately WILL I pray - be let to speak for themselves.  

[FionaM]

From a legal perspective I am guessing the Mariinsky are within their rights to continue with a production they have already paid for.  No doubt Ratmansky would have prohibited them if he could.  Or is there actual legal basis for your claim of criminality @Bruce Wall?
 

Ratmansky and whoever else, have their own conscience to deal with by keeping payments for this work that they have substantially completed.  It can’t be easy for them, and it is fair in my opinion that they keep these remunerations, as these were pre-war arrangements.  (I am assuming like any long term contract that there are upfront, ongoing, and final payments involved. )
 

It’s unrealistic to expect Mariinsky to go ahead with the production with Ratmansky’s name anywhere … he has decided to be anti-Russian and that is his choice.  The Russian state, theatre and audience won’t want to see his name, though the balletomanes will all know about his prior involvement.  It will be interesting to see how the ballet is received by audiences and critics.  The Mariinsky are doing everything to make it ‘their’ production rather than Ratmansky’s.  
 

(Somewhat similar to Royal Ballet making their new Swan Lake ‘theirs’ rather than Liam Scarlett’s after that unfortunate situation.  I’m obviously not suggesting the two situations are the same, just that the response to a bad situation, has had a commercial drive to the way it is handled.)

 

It’s naive to criticise the ballet world.  I wish this forum would desist. Perhaps it would help to open your eyes to what is happening.  For instance, there are many Western companies still operating in Russia despite sanctions … see this recent Financial Times article 

https://www.ft.com/content/1cea1f08-83ac-4471-9fa4-1cdfcc86fcb0

And there are many more still profiting from selling their products into Russia now via third party countries who haven’t signed up to sanctions.  Plus there are products the West relies on from Russia (not only energy) and hence these are exempt from sanctions.  The list of ongoing commercial relationships is endless.

 

I think we should refrain from commenting on the pros and cons of the political side of this new ballet production.   It would be good to discuss the dancing, choreo (mostly Petipa after all) and production generally.  

[BeauxArts]

What is the evidence base for you to assert, Fiona, that Ratmansky and contributors have retained payments? The only people who need to examine their consciences are the Russians and their apologists. 

[annamk]

46 minutes ago, FionaE said:

It’s naive to criticise the ballet world.  I wish this forum would desist. Perhaps it would help to open your eyes to what is happening.  For instance, there are many Western companies still operating in Russia despite sanctions … see this recent Financial Times article 

https://www.ft.com/content/1cea1f08-83ac-4471-9fa4-1cdfcc86fcb0

And there are many more still profiting from selling their products into Russia now via third party countries who haven’t signed up to sanctions.  Plus there are products the West relies on from Russia (not only energy) and hence these are exempt from sanctions.  The list of ongoing commercial relationships is endless.

 

I think we should refrain from commenting on the pros and cons of the political side of this new ballet production.   It would be good to discuss the dancing, choreo (mostly Petipa after all) and production generally.  

 

Of course we know all these things are going on thank you very much.

 

But I don't see at all why that makes it naive to criticise the ballet world in Russia. It is not as if this forum is constantly doing it and if you personally don't like it you don't have to read it. 

 

 

[Buddy]

To get back to the actual production for the moment, here’s the casting.

 

24 mars (première) : Viktoria Terechkina (Aspicia) - Renata Chakirova (Ramzaya) -

Kim Kimin (Ta-Hor) - Alekseï Timofeev (pas d’action)

 

25 mars : Maria Khoreva - Nadejda Batoeva - Philippe Stepine - Iaroslav Baïbordine

 

26 mars (m) : Maria Iliuchkina - Maria Chirinkina - Nikita Korneev - Evgueni Konovalov

 

26 mars (s) : Ekaterina Kondaourova - Elena Evseeva - Vladimir Chkliarov - Kian Mangis

 

https://www.mariinsky.ru/en/playbill/playbill/2023/3/24/2_1900/

 

(thanks to ElenaK at Dansomanie)

[FionaM]

My preference would be 26 March cast … Kondaurova and Shklyarov.  

(Some unusual name spellings in English in the above post)

[Buddy]

10 minutes ago, FionaE said:

My preference would be 26 March cast … Kondaurova and Shklyarov.  

(Some unusual name spellings in English in the above post)

 

Dansomanie is posted in French, Fiona. In regard to the casting, for me, it looks quite fine and the entire production should be quite interesting.

 

If I can be allowed an added thought perhaps. Governments come and go. Swan Lake has been here for over a hundred and fifty years. Michelangelo’s David and Botticelli’s Venus for over 500.

[Amelia]

Maybe someone is interested in looking at the digitized "DF" notations:

https://iiif.lib.harvard.edu/manifests/view/drs:425988089$5i

 

/from the site "Балет и Опера"/

Edited March 16, 2023 by Amelia
The last line added.

[FionaM]

On 09/03/2023 at 16:35, BeauxArts said:

What is the evidence base for you to assert, Fiona, that Ratmansky and contributors have retained payments? The only people who need to examine their consciences are the Russians and their apologists. 

I didn’t assert that.  I only said that they ‘could’ keep the payments in my view, as most of the work was completed before February 2022 events.  As Ratmansky himself has said (in the interview with LBC for instance)  ..  he has his own conscience to deal with about working in Russia in the years leading up to this situation, including being director of the Bolshoi company itself.   I hope he writes it off as a different era.  

[FionaM]

On 09/03/2023 at 20:02, Buddy said:

 

Dansomanie is posted in French, Fiona. 

 

thank you … I didn’t realise the French spelling of Russian dancers’ names would be different.

Edited March 16, 2023 by FionaE

[MaddieRose]

There's quite a long interview in Russian about the production with Yuri Fateev: 

 

https://www.kommersant.ru/doc/5887128?fbclid=IwAR16b1HidyeoDHeToCmmYQ1l1Y3jf6ouviHd4S3C839j8iC_ZGHIMk0CDgs
 

I won't translate the whole thing, but some key parts are: 

 

'Ratmansky said that it was impossible, that he could not continue to work on the production. This was in Spring 2022'. 

'But now Tony Candeloro has completely re-choreographed it. Nothing remains of what his predecessor [Ratmansky] did'. There's then mention of how the Stepanov notations can be interpreted in different ways. 
 

Fateev says there is no danger of Ratmansky claiming the choreography as his because the recording of the 'failed production' was banned, and Candeloro hasn't even seen it. 
 

To do with the production, the claim is that it will be about 90% accurate to the 1898 version, using the Stepanov notations and videos provided by Candeloro, who was doing his own research into the ballet before being approached about taking over the choreography. However the ballet will be condensed into two acts, so the 'modern viewer will not get bored'. The design is referred to as a 'fresh look at the past'. 

He also says the ballet can be performed by the Mariinsky 'forever', though refuses to give any further details. Balanchine's Jewels is also in the repertory until 2025. 
 

 

[Jeannette]

1 hour ago, MaddieRose said:

….………However the ballet will be condensed into two acts, so the 'modern viewer will not get bored'. The design is referred to as a 'fresh look at the past'. 

He also says the ballet can be performed by the Mariinsky 'forever', though refuses to give any further details. Balanchine's Jewels is also in the repertory until 2025. 
 

 

Condensed into two acts? So we modern viewers get bored by longer works? Thank  goodness that Fateev  doesn’t apply these rules to The Sleeping Beauty!

[Geoff]

1 hour ago, MaddieRose said:

I won't translate the whole thing, but some key parts are: 

 

'Ratmansky said that it was impossible, that he could not continue to work on the production. This was in Spring 2022'. 
 

 

That’s really interesting, thank you,  Does the original text make clear if Ratmansky meant “impossible” in relation to the work or to the conditions at the theatre, politics or other externalities? 

 

Edited March 21, 2023 by Geoff

[MaddieRose]

58 minutes ago, Geoff said:

That’s really interesting, thank you,  Does the original text make clear if Ratmansky meant “impossible” in relation to the work or to the conditions at the theatre, politics or other externalities? 

The interviewer notes that Ratmansky severed his partnerships with Russian theatres for 'political reasons', so Fateev was probably talking in that context. Though the interviewer enquires on the process of coming to the decision, there's no proper detail given by Fateev (although further on in the interview he is complementary of the work Ratmansky did on the project). 

[Amelia]

A video with rehearsals of The Pharaoh's Daughter at Mariinsky:

https://www.youtube.com/watch?v=8NDA1PDB4Hc

 

Edited March 23, 2023 by Amelia
typo

[Amelia]

Here is a “promo” piece on this new production:  https://youtu.be/9ijKe6ykPHA

 

[MaddieRose]

I'm not quite sure how to share the link as Facebook sharing is a nightmare (copy-pasting the link doesn't work) but Ratmansky has put a public-facing statement on his Facebook page, alongside a video of António Casalinho dancing. 
 

Ratmansky's statement: 

 

PHARAOH'S DAUGHTER.
This is a reconstructed variation from the famous Act II Pas d'Action, a rare example of Petipa's choreography for the men, danced here by the brilliant António Casalinho. It is part of a larger ongoing project called 'Petipa Variations', a long time dream of mine. A filmed record of the notated 19c variations done by the best dancers.
 
I wanted to post it on the day of PhD premiere at the Mariinsky. In the spring of 2021, after two years of preparation, I was able, together with my wife Tatiana, to stage close to two hours of reconstructed choreography and mise en scene of PhD at the Mariinsky and was going to finish the production in May 2022. We had complete runs of the material and the dancers (superb) were ready to go on stage. However when Russia invaded Ukraine in February 2022 I left in protest and had to cancell (officially postpone) the premiere. UKraine is a home country where my family still lives, there was absolutely no other choice for me.

My designer Bob Perdziola who at the time when the war started did most of his job already was just informed couple of weeks ago about the new premiere date and the new 'artistic team' taking over. This team consists of Toni Candeloro and Juan Bockamp, people I knew and corresponded with, who choose to become tools of putin's propaganda. Hope they realize that the taxes they pay in Russia are spend to kill and torture Ukrainians.

And there is one more aspect. After seeing recent rehearsal footage I am suspicious that parts of my work might have been used. I won't make any statements until I see the film of the full production. All I can say now is that the PhD is the most painful professional experience in my life. And it does hurt. 
 

Edited March 24, 2023 by MaddieRose

[LinMM]

What a heartbreaking statement. 
Certainly brings things down to Earth with a crash 😥

[Estreiiita]

Probably it's painful for mr.Ratmansky to know that the ballet he had once been  working upon was successfully staged by the other choreographer.

  Personally I don't think Putin's war is paid by taxes of the foreign choreographers/dancers working in Russia, in my opinion it is mainly paid by  money our countries still pay to Russia for oil and gas - as I understand, it's still huge amount and it's shameful, but the ballet forum isn't a place to discuss it.

  For me, any action that helps to divert russian money from producing/buying more weapons and escalating the war, it being, for example, the staging of the new expensive ballet, is already a good cause.

   Well done, Mariinsky! I hope the new ballet will get a long life on its stage and I certainly wait for the opportunity to watch it - in St. Petersburg, London or elsewhere!

   

[Jeannette]

Yet, I see that Mr & Mrs Ratmansky are now in Vilnius, Lithuania, staging their version of Harlequinade! Not so far away!!! All in the ex-USSR. Funny world.

 

https://m.facebook.com/search_results/?q=alexei+ratmansky

 

 

[stucha]

I don't believe for one minute that Candolero and his assistant could possibly have choreographed Pharaoh's daughter from scratch in such a short time.  Ratmansky's preparation spanned two years.

In a previous interview following Ratmansky's exit, Fateev said that 85% of the production had been choreographed and rehearsed (by Ratmansky) and that they would proceed with the production and with the remaining choreography done by someone else.

Ratmansky's name has simply been removed not just for this production but also for his other productions as well, not only at the Mariinsky but also at the Bolshoi.

Edited March 26, 2023 by stucha
Clarity

[Sabine0308]

Removing Ratmansky's name reminds me so much of all the "don't say it but we know it" situations in former East Germany. I thought these times were over...well not in Russia, as we see. It's paternalism and taking the usually well informed Russian ballet audience for a fool. 

[Amelia]

17 hours ago, stucha said:

Ratmansky's name has simply been removed not just for this production but also for his other productions as well, not only at the Mariinsky but also at the Bolshoi.

 

Yes, his name is not credited for "The Flames of Paris", which is still in the Bolshoi's Repertoire.

https://2011.bolshoi.ru/en/performances/235/

 

Edited March 26, 2023 by Amelia
Added the link.

[FionaM]

Well I’ve seen a few clips … some of the choreography is musically dull.  The costumes and sets are sumptuous.

[Amelia]

I scraped together as much dancing as I could.

Ekaterina Kondaurova talks about pantomime {Mariinsky's website):  https://vk.com/video-130074765_456241155

Victoria Tereshkina as Aspiccia:   https://www.youtube.com/watch?v=SE8w0w3rwMI 
https://www.youtube.com/watch?v=B-tEAmu6cT4 
Kimin Kim as Taor:  https://www.youtube.com/watch?v=r-uRmGDz26Y 

Maria Shirinkina as Ramsea {including Monkey):  https://www.youtube.com/watch?v=uqPL0EitbEQ

Maria Ilyushkina as Aspiccia: https://www.youtube.com/watch?v=tnp1rc7UTcA

Curtain calls with Maria Khoreva & Philipp Stepin:  https://www.youtube.com/watch?v=vxPE3S1pX-4

 

Edited March 27, 2023 by Amelia
economised layout

[Buddy]

On 25/03/2023 at 03:32, Jeannette said:

Yet, I see that Mr & Mrs Ratmansky are now in Vilnius, Lithuania, staging their version of Harlequinade! Not so far away!!! All in the ex-USSR. Funny world.

 

https://m.facebook.com/search_results/?q=alexei+ratmansky

 

 

 

Yes, it’s curious how these things happen. Interestingly perhaps, the best performances that I’ve seen of two well known Ratmansky works created for a famous American ballet company were by the Bolshoi. Cultural and historical ties can’t be denied.

 

By the way, I like Maria Iliushkina’s performance very much.

 

[Jeannette]

Yes, I noticed fan-cam videos of three performances, on YouTube. Links above. I guess that we’re not really dipped to watch but it’s hard to ignore. My husband & I planned a trip to be there for the premiere in May 2022. Not to be.

The clip with the Monkey reminds me of Balanchine, who danced this role as a student.

Edited March 27, 2023 by Jeannette

[Amelia]

5 hours ago, Jeannette said:

The clip with the Monkey reminds me of Balanchine, who danced this role as a student.

 

Now it was also danced by a student of Vaganova Academy - Kirill Mezin

[Jeannette]

THE FUN READING SEGMENT!

 

Many of the excerpts being  shown are from the famous Act II Grand Pas Classique/Pas de Six . One is this part:

https://www.youtube.com/watch?v=Q9kuh7zp7Ag (the introduction of the Pas.)

 

 

(or a Pas de Cinq…as Fedor Lopukhov calls it, as the main male character is considered a “walk around” part.)

 

The full translated article about this and other “Petipa Sonatas” can be read, in English, in the 2002 Univ of Wisconsin book of Lopukhov essays titled Writings on Ballet and Music, edited & with intro by Stephanie Jordan, translated by Dorinda Oxford. 
 

it’s considered a treasure of classical dance, composed for four women and two men. Unusual groupings.
 

go to pp. 167-172 for the description of the Pas. I loved reading it after seeing the filmed excerpts…
the book is on Amazon…so that you see the cover…many of you have it, I bet:

 

https://www.amazon.com/Writings-Ballet-Music-Studies-History/dp/0299182746/ref=mp_s_a_1_1?crid=2SRLTZNLEXAAB&keywords=fedor+Lopukhov&qid=1680055736&sprefix=fedor+lopukhov%2Caps%2C162&sr=8-1

 

 

 

 

 

 

 

 

 

 

 

 

 

Edited March 29, 2023 by Jeannette

[Jeannette]

My above link of the A2 Grand Pas Classique includes a number of the Pas’ excerpts, including the Kchessinskaya variation with a dagger that’s described by Lopukhov…”Kchessinskaya’s most famous variation of the ballet, because she looks so Royal!”  (My paraphrase)

[Buddy]

15 hours ago, Jeannette said:

My above link of the A2 Grand Pas Classique includes a number of the Pas’ excerpts, including the Kchessinskaya variation with a dagger that’s described by Lopukhov…”Kchessinskaya’s most famous variation of the ballet, because she looks so Royal!”  (My paraphrase)

 

Thanks, Jeannette. Also, someone has just posted a brief video clip of a favourite of ours, the young Anastasia Plotnikova. She performs the Neva River Dance. It’s the first I’ve seen of her in a long time. I hope to see much more. She’s lovely here.