Promotions to principal at age 21

[Emeralds]

3 hours ago, TSR101 said:

Diop's promotion was raised above (my list was put together last year before his promotion and I haven't updated it) 

 

 

I actually think this highlights how critical early promotion is for those who do have the talent as it allows them to develop in the main roles for longer (it can risk Polunin style meltdowns but that has from the list above been rare). There is also a fine balance between staying at a major company or gaining rapid promotion in a 'lesser' company. Alina and Marianela were both bolstered by performing principal roles in their teens pre-RB and thus this undoubtedly helped when they joined the RB compared to those who came directly from the school to the corps. Likewise would Vadim, be the Vadim of today, if Eagling had not poached him from RBS and then put him repeatedly in the main principal roles? Darcey was promoted because essentially MacMillan picked her out and created Prince of Pagodas on her - would this happen today? 

Vadim didn’t get poached but I definitely feel that Eagling and Klimentova helped him become an outstanding danseur and star, whereas if he’d been hired by RB after leaving RBS he might still be languishing as a soloist or remaining as a first soloist, certainly not one of their most in demand principals and one of the biggest stars at ROH (against the likes of Kaufmann, Jaho and Gheorghiu). He already had talent after training with his parents and the notoriously harsh but thorough training at Perm honed his skills to help him win competitions and his RBS scholarship. But he needed further guidance, and (perhaps odd to say this) the friendly working atmosphere at ENB helped him blossom as an artist and mature as a person and a performer.

 

When he was a first soloist aged 19 at ENB, you could tell he had the authority and technique, and was ready to be a principal, and at other companies he possibly would have already been promoted to principal, perhaps to stop him leaving, as the purpose of a lot of early promotions tend to be.  But I think waiting a year allowed him to be just a company member who could be called upon to cover someone else in smaller roles, and helped him to be more grounded, less pressured, and to develop his interpretations. (From ballet school  to first soloist at age 19 is already pretty speedy!) It was a case of right place and right time, and wise decisions. 

 

A lot of “extraordinary” early promotions are due to a mix of a vacancy or lots of vacancies being available in addition to “we think you’ll be useful for our company, please don’t leave us” decisions. Some people with early promotions haven’t been anywhere as good as their colleagues who got promoted much later, but that person had advantages (eg the right height, or could attract publicity) that other talented/better colleagues just weren’t born with. 

Edited April 17, 2023 by Emeralds

[Emeralds]

13 minutes ago, Sophoife said:

...and on the other hand, Isabelle Ciaravola was promoted étoile at POB at the extremely advanced age (for that company) of 37.

 

Eleonora Abbagnato was almost 35 but holds the POB female record of having been première danseuse for 11½ years before being nominated.

 

The POB male record, never to be surpassed, is held by Wilfried Romoli, who achieved premier danseur at 26 in 1989, and (in the days when dancers retired at 45, not today's 42), was eventually nominated étoile 16 years later in 2005, at the age of 42. 

It’s like about five minutes before Romoli was (legally obliged) to retire!

 

But of course in France Paris Opera etoiles get a lot of perks as an etoile that they don’t even as premiere danseur or premiere danseuse. The size of their pensions etc in addition to the usual pay rise and private large dressing room etc etc- it’s like becoming a partner in a law firm or tenure as a university 

professor.

 

So still worth it for Romoli personally even if he wasn’t going to be starring as Siegfried or Romeo many times after promotion if at all. 

[Emeralds]

4 hours ago, TSR101 said:

In case of interest, I had this discussion a while back with some people and the list (focused on the big four) below is the extension of the one above. Again some ages may be slightly out if promotion date/birthday were unclear but is roughly right.

The Mariinsky definitely appeared to favour earlier promotion. The RB seemingly has pushed back from early promotion and Reece Clarke was doing major principal roles well before he was promoted at 27. POB is renown for the problems caused by its etoile system so based upon how the AD behaves - Guillem, Legris and Hillaire all promoted by Nureyev and make up the bulk of the earliest POB promotions in the list and sometimes involved skipping ranks.  

 

Steven McRae 23 Royal Ballet

Jonathan Cope 23 Royal Ballet

Hugo Marchand 23 Paris Opera Ballet

Paul Marque 23 Paris Opera Ballet

Natalia Osipova 24 Bolshoi Ballet

Isabelle Guerin 24 Paris Opera Ballet

Dorothee Gilbert 24 Paris Opera Ballet

Matthew Ball 24 Royal Ballet

Lauren Cuthbertson 24 Royal Ballet

Francesca Hayward 24 Royal Ballet

Yasmine Naghdi 24 Royal Ballet

Olga Smirnova 25 Bolshoi Ballet

Aurelie Dupont 25 Paris Opera Ballet

Zenaida Yanowsky 25 Royal Ballet

Svetlana Lunkina 26 Bolshoi Ballet

Marcelino Sambe 26 Royal Ballet

Vladimir Skylyarov 26 Mariinsky Ballet

Akane Takada 26 Royal Ballet

Leonore Baulac 26 Paris Opera Ballet

Emilie Cozette 26 Paris Opera Ballet

Anna Rose O’Sullivan 27 Royal Ballet

Matara Magri 27 Royal Ballet

Reece Clarke 27 Royal Ballet

Evgenia Obraztsova 28 Mariinsky Ballet

Valentine Colasante 28 Paris Opera Ballet

Ludmila Pagliero 28 Paris Opera Ballet

Edward Watson 29 Royal Ballet

Fumi Kaneko 29/30 Royal Ballet

Alexander Campbell 30 Royal Ballet

Stephane Bullion 30 Paris Opera Ballet

Myriam Ould-Braham 30 Paris Opera Ballet

William Bracewell 31 Royal Ballet

Sae Eun Park 31 Paris Opera Ballet

Ryoichi Hirano 32 Royal Ballet

Sorry, TSR101, Evgenia Obraztsova didn’t get promoted by Mariinsky Ballet at 28. A sore point with many fans and no doubt Evgenia herself and her family but she languished at first soloist for years and years, like Olesya Novikova later on, even though she’d danced all the leads in the classical repertoire and was always Pierre Lacotte’s first choice and first cast when he created productions  with them. She was eventually offered a principal dancer contract with Bolshoi Ballet which she accepted and has remained-she’s  a very popular star at the Bolshoi. I think there were about 100 pages of complaints, arguments stating the case for her promotion and impassioned discussion on forums, YouTube and websites from fans. 😂 (I wasn’t one of them but I agreed with them.) 

[TSR101]

15 minutes ago, Emeralds said:

Sorry, TSR101, Evgenia Obraztsova didn’t get promoted by Mariinsky Ballet at 28. A sore point with many fans and no doubt Evgenia herself and her family but she languished at first soloist for years and years, like Olesya Novikova later on, even though she’d danced all the leads in the classical repertoire and was always Pierre Lacotte’s first choice and first cast when he created productions  with them. She was eventually offered a principal dancer contract with Bolshoi Ballet which she accepted and has remained-she’s  a very popular star at the Bolshoi. I think there were about 100 pages of complaints, arguments stating the case for her promotion and impassioned discussion on forums, YouTube and websites from fans. 😂 (I wasn’t one of them but I agreed with them.) 

 

Ah I think the mistake is the ballet company!

Edited April 17, 2023 by TSR101

[FionaM]

A few corrections about Sergei Polunin ...

 

Firstly he was 19 on promotion date 10 June 2009 ahead of the RB tour in Cuba.  His 20th birthday was 20 November 2009.  This is according to the letter he received at the time from RB management which appears in the documentary film ‘Dancer’.  (Wikipedia is wrong about the date.  They’ve only recently corrected the fact that he won the Prix de Lausanne in 2006.)
 

Secondly, he left RB because of the restrictions of management about other projects he wanted to do, and, about foreseeing that his future in RB would be repetitive of the roles he’d already performed in the 4-5 years there.  I’m guessing that he would have preferred to not dance some of these roles but couldn’t see a way to refuse.  It’s the media that termed it a meltdown with no factual basis. 
 

In a recent interview (in Russia) he said that the RB gave him a pay rise in order for him NOT to hire an agent.  On reflection, if they had allowed him an agent, that person might have managed him better and he might not have left.  (On the other hand he might be unmanageable by anyone.)  Don’t ask me to find this quote … he gets interviewed so often it’s impossible to keep track of what he said where, and, I’m not an archivist.  Plus all the interviews now are obviously in Russian. 

 

The way he left the RB in 2012 without a firm contract at ABT (they were promising him all sorts), or anywhere else, was a sign of naivety, in my opinion.  However, as we all know now, he then performed many lead roles over the next 7 years in classical ballets at STANMUS company in Moscow and at NOVAT in Novosibirsk, Siberia, and guesting elsewhere including at Bolshoi, Mariinsky, La Scala, Munich and others.  He had performed nearly 50 Giselles (his favourite role) by age 26/27.  Most principals won’t get to perform half as many in a full 20 year career. 

In response to the ‘meltdown about pressure’ argument … I think it’s clear that he wanted to have control of his career, in the same way that ‘Mademoiselle Non’ did.  So, he now has that  … with the even GREATER pressure of being director, choreographer, lead dancer AND producer of his own shows, requiring him to generate sufficient revenue to support a management team, finance future projects, as well as supporting his extended family of 4 generations. 

————————————————————————-
 

BUT back to the point of this thread which was to congratulate Dmitry Smilevski and Elizaveta Kokoreva on their promotions to principal at such a young age.  I believe neither have danced in the corps de ballet … they have only performed soloist roles from the start of their professional careers.  As with any principal anywhere  .. the real work and responsibility starts now. 

[FionaM]

I’m glad someone mentioned Polina Semionova … principal in Berlin straight out of school, and then also Olesya Novikova …promoted at age 37/38 and LONG overdue in the eyes of many. 
 

I’d also like to mention Fumi Kaneko whose own promotion was delayed due to the pandemic and also her long injury time-outs.  Many promotions, and debuts globally, will have been delayed by the pandemic.  

[capybara]

If I heard her correctly, Fumi said in an open interview that she was coincidentally promoted on her 29th birthday in October 2020 but that wasn't announced until summer 2021.

But, yes, she had two very long time-outs after having been cast as Kitri in the first run of Acosta's Don Quixote and absolutely 'smashing it'.

 

And oh ......... Novikova. For ever fabulous and a Principal at last.

 

 

 

 

Edited April 17, 2023 by capybara

[Sabine0308]

What are actually the qualities a dancer must have in order to become principal dancer? Excellent technique is obvious. But isn't there much more to it. Has a dancer at age 19, 20, 21 developped enough artistic maturity in their performance? 

[Emeralds]

34 minutes ago, Sabine0308 said:

What are actually the qualities a dancer must have in order to become principal dancer? Excellent technique is obvious. But isn't there much more to it. Has a dancer at age 19, 20, 21 developped enough artistic maturity in their performance? 

I’d say authority in their dancing and artistry. It isn’t about performing triple fouettes or quadruple pirouettes or 540s at all, in my view. When Makarova was a huge star, she hardly ever did tricks and didn’t even do double pirouettes or double fouettes that often. But when she danced, you couldn’t take your eyes off her, and she even made you believe she had done a lot of doubles and very difficult fouettes, then when you rewind the video, you realise they were quite simple single fouettes, but she was totally in control, made you believe you were under her spell as Odile. I think it’s actually more about a skilful landing than how many revolutions per pirouette. Detail and mastery of each second of the choreography - she never looked like “now I am coming on do my solo.”

 

I remember when I saw Vadim for the first time- in Suite en blanc and a new contemporary ballet- his roles had no fireworks, but it was effortless, soaring and musical. And his partnering was very assured, steady and showed off his partners elegantly. Alina Cojocaru was someone who looked like a principal from the moment she stepped onstage at ROH- in Symphonic Variations. Wendy Ellis, the former principal who is now staging Cinderella, came into the audience to watch her dance and brought a student/apprentice with her to watch Alina. It could be the practice of dancing lead roles in Kyiv that helped, but there are many who have danced lead roles with other companies that don’t have this authority. She didn’t try to steal the limelight. But when she danced, she just looked like she’d prepared the role, watched other performances and performed it for years. I think it’s both instincts and hard work- Cojocaru is known for being extremely meticulous in her preparations and rehearsals. 

 

You could say that there are some who have danced for years that don’t bring their maturity into the roles and still look hesitant, while there are others who are prepared enough to do it at a young age. I don’t think Alina or Vadim could have danced Hermione and Leontes from The Winter’s Tale at 20, for example. Or Tatiana and Onegin. But there are lots of lead roles that don’t require lots of life experience, of course. 

Edited April 17, 2023 by Emeralds

[TSR101]

I would add that there is also a huge range in levels even amongst the principals of a single company. There is also a difference from being a principal and being a 'ballet star' so to speak. Vadim and Alexander Campbell are both principals at the RB but Vadim is a star, and even though I quite like AC, he isn't. 

[bridiem]

8 minutes ago, TSR101 said:

I would add that there is also a huge range in levels even amongst the principals of a single company. There is also a difference from being a principal and being a 'ballet star' so to speak. Vadim and Alexander Campbell are both principals at the RB but Vadim is a star, and even though I quite like AC, he isn't. 

 

I don't think there's 'a huge range in levels' amongst the principals of the RB (since you mention 2 RB dancers here, and it's the company I know best). There are a few (including Vadim Muntagirov, of course) who are obviously major international 'ballet stars' (and a few more who are very close to being so) but all without exception (and certainly including Alexander Campbell) are hugely and exceptionally talented with their own unique qualities and all (including Alexander Campbell) appear in international galas and as guest artists etc. So to talk of 'a huge range in levels' is both misleading and inappropriately disparaging.

[TSR101]

22 minutes ago, bridiem said:

 

I don't think there's 'a huge range in levels' amongst the principals of the RB (since you mention 2 RB dancers here, and it's the company I know best). There are a few (including Vadim Muntagirov, of course) who are obviously major international 'ballet stars' (and a few more who are very close to being so) but all without exception (and certainly including Alexander Campbell) are hugely and exceptionally talented with their own unique qualities and all (including Alexander Campbell) appear in international galas and as guest artists etc. So to talk of 'a huge range in levels' is both misleading and inappropriately disparaging.

 

No one suggested that they weren't talented - in fact being exceptionally talented isn't confined to the principal grade however I'd argue your assessment is based on emotion rather than an assessment of facts. If one was to look at the roles they are selected to perform in their home company (both range; number of performances - injury permitting; and whether they are opening cast or not) and where they are asked to perform as guests, there undoubtedly be a range demonstrated. 

 

You can of course disagree with me - but to say inappropriate is nonsense. This is a forum and forums are by their nature where opinions are shared. 

Edited April 17, 2023 by TSR101

[Sophoife]

4 hours ago, Sophoife said:

The POB male record, never to be surpassed, is held by Wilfried Romoli, who achieved premier danseur at 26 in 1989, and (in the days when dancers retired at 45, not today's 42), was eventually nominated étoile 16 years later in 2005, at the age of 42. 

 

4 hours ago, Emeralds said:

It’s like about five minutes before Romoli was (legally obliged) to retire!

 

 

Yes, it would have been, as the POB dancer retirement age had been lowered to 42 (from 45) in 2002. Management made a special concession or arrangement specifically for him so he could dance as an étoile for three years. And he'd been dancing lead roles for many years (Nureyev's last Solor, for example).

[TSR101]

39 minutes ago, TSR101 said:

 

No one suggested that they weren't talented - in fact being exceptionally talented isn't confined to the principal grade however I'd argue your assessment is based on emotion rather than an assessment of facts. If one was to look at the roles they are selected to perform in their home company (both range; number of performances - injury permitting; and whether they are opening cast or not) and where they are asked to perform as guests, there undoubtedly be a range demonstrated. 

 

You can of course disagree with me - but to say inappropriate is nonsense. This is a forum and forums are by their nature where opinions are shared. 

 

Your argument also has inherent flaws. To suggest there isn't a big range, would make ballet unique - which other field of physical and artistic skill do you get to a stage where everyone is equal? The argument that there isn't a range also somehow means that dancers reach 'principal level' which is the same for everyone, then remain on a static level throughout their time as a principal. So principal day one, is the same as principal year five. Is Marianela 2023 the same Marianela from 2002 - has everything she has done or experienced for 21 years made her no better or worse? is Vadim the same level as he was when he started as a principal? Is he the same as he will be in ten years time?

 

9 minutes ago, Sophoife said:

 

 

Yes, it would have been, as the POB dancer retirement age had been lowered to 42 (from 45) in 2002. Management made a special concession or arrangement specifically for him so he could dance as an étoile for three years. And he'd been dancing lead roles for many years (Nureyev's last Solor, for example).

 

POB is probably the major company I know least about - is there a stated reason POB has a retirement age at all? There are a number of very good 40+ dancers. POB would forcibly retire Marianela from their company next year if she danced there? 

Edited April 17, 2023 by TSR101

[bridiem]

37 minutes ago, TSR101 said:

 

No one suggested that they weren't talented - in fact being exceptionally talented isn't confined to the principal grade however I'd argue your assessment is based on emotion rather than an assessment of facts. If one was to look at the roles they are selected to perform in their home company (both range; number of performances - injury permitting; and whether they are opening cast or not) and where they are asked to perform as guests, there undoubtedly be a range demonstrated. 

 

You said 'a huge range'  not simply 'a range'; words matter. And at this level of talent and artistry, I do feel that it is demeaning to use crude comparative terms about dancers.

[Sophoife]

27 minutes ago, TSR101 said:

POB is probably the major company I know least about - is there a stated reason POB has a retirement age at all? There are a number of very good 40+ dancers. POB would forcibly retire Marianela from their company next year if she danced there? 

 

Yes, it's a federal mandate. All Opéra employees, dancers, singers and backstage workers, have this, and it was reiterated just recently. Both the Opéra and the Comédie Française have special retirement provisions. Their pensions do kick in at this point.

 

And yes, if Miss Nuñez was a contract dancer at POB, she would be required to faire ses adieux at 42. That's not to say they all stop dancing, but they can't continue with POB.

[TSR101]

1 hour ago, bridiem said:

 

You said 'a huge range'  not simply 'a range'; words matter. And at this level of talent and artistry, I do feel that it is demeaning to use crude comparative terms about dancers.

 

The range in principal can go from the best there has ever been, to just about made principal late in the career. That is a huge potential range and the actual ranges at companies will vary but they will be large. Particularly when you have principals growing and declining through what can be 15-20 year careers as principals. As I said, your view is emotional, which this comment effectively accepts.

 

1 hour ago, Sophoife said:

 

Yes, it's a federal mandate. All Opéra employees, dancers, singers and backstage workers, have this, and it was reiterated just recently. Both the Opéra and the Comédie Française have special retirement provisions. Their pensions do kick in at this point.

 

And yes, if Miss Nuñez was a contract dancer at POB, she would be required to faire ses adieux at 42. That's not to say they all stop dancing, but they can't continue with POB.

Interesting, presumably they can just guest to continue if necessary. 

Edited April 18, 2023 by TSR101

[Sophoife]

It is quite rare for a retired POB dancer to return as a dancer for any reason. Alice Renavand is doing so as she was injured during her farewell performance - Bleuenn Battistoni had to dance the second act. 

[bridiem]

5 hours ago, TSR101 said:

The range in principal can go from the best there has ever been, to just about made principal late in the career. That is a huge potential range and the actual ranges at companies will vary but they will be large. Particularly when you have principals growing and declining through what can be 15-20 year careers as principals. As I said, your view is emotional, which this comment effectively accepts.

 

It's not 'emotional' - it's an acknowledgement that dancers are human beings with qualities that cannot (or only to a small extent) be reduced to crude comparatives. And yes, assessing dancers is also inevitably subjective. There are 'stars' who do absolutely nothing for me, and 'ordinary' principals who I greatly prefer (and this forum is evidence that is a widespread phenomenon). And principals don't necessary 'grow and decline' - look at Marianela Nunez, an obvious example of someone who has grown and grown. Talented dancers mature, and many retire before they 'decline'.

[Jan McNulty]

8 hours ago, Sophoife said:

 

Yes, it's a federal mandate. All Opéra employees, dancers, singers and backstage workers, have this, and it was reiterated just recently. Both the Opéra and the Comédie Française have special retirement provisions. Their pensions do kick in at this point.

 

And yes, if Miss Nuñez was a contract dancer at POB, she would be required to faire ses adieux at 42. That's not to say they all stop dancing, but they can't continue with POB.

During the days of austerity a mandatory retirement age was also introduced at the Royal Danish Ballet.

 

10 hours ago, TSR101 said:

I would add that there is also a huge range in levels even amongst the principals of a single company. There is also a difference from being a principal and being a 'ballet star' so to speak. Vadim and Alexander Campbell are both principals at the RB but Vadim is a star, and even though I quite like AC, he isn't. 

 

As BridieM says (to paraphrase) some dancers (stars or not) do it for me and others do not.  I know who I choose to book for!

[Fonty]

With regard to whether a dancer is a star or a "mere" principal has a great deal to do with how much publicity they receive.  If you are part of a pairing who always seem to get the opening night, then yours is the name that will be in the press and will be in the public eye.  Furthermore, if you are part of the partnership whose performances are chosen for filming and committed to video for posterity, then that enhances your profile.  

 

Whether or not you really are the outstanding dancer/couple in that particular ballet is a matter of personal opinion.  

Edited April 18, 2023 by Fonty
typo

[Sim]

16 minutes ago, Fonty said:

With regard to whether a dancer is a star or a "mere" principal has a great deal to do with how much publicity they receive.  If you are part of a pairing who always seem to get the opening night, then yours is the name that will be in the press and will be in the public eye.  Furthermore, if you are part of the partnership whose performances are chosen for filming and committed to video for posterity, then that enhances your profile.  

 

Whether or not you really are the outstanding dancer/couple in that particular ballet is a matter of personal opinion.  

Yes.  And these days, it depends a lot on your social media profile.  Some dancers are more 'starry' than others because they are seen out and about at all the cool events around town.  Others, such as Laura Morera, are very quiet and have no social media profile.  Is Laura a 'star'?  No.  Is she one of the best they've had for the last 20 years?  Yes.  Would I book for her over some of the 'stars'?  Definitely.  Only my opinion, of course.

[Sim]

13 hours ago, Emeralds said:

You could say that there are some who have danced for years that don’t bring their maturity into the roles and still look hesitant, while there are others who are prepared enough to do it at a young age. I don’t think Alina or Vadim could have danced Hermione and Leontes from The Winter’s Tale at 20, for example. Or Tatiana and Onegin. But there are lots of lead roles that don’t require lots of life experience, of course. 

Although by the time Alina was 22/23 she danced one of the best Tatianas I have ever seen.  Paired with Kobborg, I was left stunned and in tears at the end, and tried to see very other one of their performances in that ballet over the years.  Unbelievable.

 

Agree about Vadim.  Having now interpreted Rudolf in a way that left me in a similar state to the above, I would say he is definitely ready for Onegin, and will give an amazing account of him.  I only hope Reid Anderson agrees...

[Guest oncnp]

9 minutes ago, Sim said:

Agree about Vadim.  Having now interpreted Rudolf in a way that left me in a similar state to the above, I would say he is definitely ready for Onegin, and will give an amazing account of him.  I only hope Reid Anderson agrees...

 

I believe Muntagirov said after he withdrew last time that Reid Anderson did want him to do it so hopefully neither has changed their minds. 

 

Vadim Muntagirov "In Conversation" | The London Ballet Circle (tlbc.org.uk)

[capybara]

21 minutes ago, Sim said:

Yes.  And these days, it depends a lot on your social media profile.  Some dancers are more 'starry' than others because they are seen out and about at all the cool events around town.  Others, such as Laura Morera, are very quiet and have no social media profile.  Is Laura a 'star'?  No.  Is she one of the best they've had for the last 20 years?  Yes.  Would I book for her over some of the 'stars'?  Definitely.  Only my opinion, of course.

 

And many dancers now have agents who get them (e.g.) modelling assignments; photoshoots; 'red carpet' appearances; magazine features; bought blocks of profile-enhancing IG 'followers'. A number post daily and offer 'essays' relating to their lives and thoughts.

 

I'm not going to mention names but at least one dancer whom many would regard as a huge star has/does none of these things - apart from using self-managed IG and FB accounts. And Laura, who eschews social media, is a star for me - big time!!!!

 

[PS. Arguably, the additional activity I list above is beneficial to the art of ballet, so I'm not 'against' it - just noting the different approaches.]

 

 

 

Edited April 18, 2023 by capybara

[Benjamin]

6 minutes ago, capybara said:

 

And many dancers now have agents who get them (e.g.) modelling assignments; photoshoots; 'red carpet' appearances; magazine features; bought blocks of profile-enhancing IG 'followers'. A number post daily and offer 'essays' relating to their lives and thoughts.

 

I'm not going to mention names but at least one dancer whom many would regard as a huge star has/does none of these things - apart from using self-managed IG and FB accounts. And Laura, who eschews social media, is a star for me - big time!!!!

 

[PS. Arguably, the additional activity I list above is beneficial to the art of ballet, so I'm not 'against' it - just noting the different approaches.]

 

 

 

It’s become part of the job, sadly, but also gives us an interesting perspective so you win some, lose more. I’m always here for the red carpet looks.

[Emeralds]

47 minutes ago, Sim said:

Although by the time Alina was 22/23 she danced one of the best Tatianas I have ever seen.  Paired with Kobborg, I was left stunned and in tears at the end, and tried to see very other one of their performances in that ballet over the years.  Unbelievable.

 

Agree about Vadim.  Having now nailed Rudolf which left me in a similar state to the above, I would say he is definitely ready for Onegin, and will give an amazing account of him.  I only hope Reid Anderson agrees...

Thanks, Sim....I agree! I went back just now and looked up the archive, as i remember being at the first performance when Onegin was first acquired by the Royal Ballet in 2001, and she was a wonderful Olga alongside Rojo’s powerful Tatiana- they were both brilliant, as were Adam Cooper as Onegin and Ethan Stiefel as Lensky. I always thought she first danced Tatiana in 2004 with Kobborg, but nope, she was actually already dancing it in the first run in the second cast with Kobborg as Onegin, aged only 20! Clearly most people need to be at least 23 or 24 to convey the emotions of the older Tatiana, especially in the last scene, but Alina is obviously not “most people”. 😂 i take back my comment about her possibly not being ready at 20! 

 

Oddly enough, I booked to see her as Nikiya in Feb 2002 with guest from ABT, Angel Corella (normally one of my faves as well) as her Solor, and something seemed off- they both danced well but didn’t seem to connect. A veteran dancegoer whom I knew from seeing her at virtually every show I attended at ROH, remarked, with a sniff, that Cojocaru was “too young and immature to dance Nikiya”. I didn’t think that was it, but couldn’t quite think why: injury? Some personal trauma/event distracting him or her? Maybe because he was a guest and they didn’t have enough rehearsal time to prepare together while everyone else was an RB member? That would be the only performance I have seen that wasn’t powerful and stunning, but still decent and competently danced. Interestingly, one of the other casts was Leanne Benjamin and Johan Kobborg (whom I didn’t have time to see). I wonder nowadays how that might have turned out if the partners were switched around! 😁

Edited April 18, 2023 by Emeralds

[Fiz]

1 hour ago, Sim said:

Although by the time Alina was 22/23 she danced one of the best Tatianas I have ever seen.  Paired with Kobborg, I was left stunned and in tears at the end, and tried to see very other one of their performances in that ballet over the years.  Unbelievable.

 

Agree about Vadim.  Having now interpreted Rudolf in a way that left me in a similar state to the above, I would say he is definitely ready for Onegin, and will give an amazing account of him.  I only hope Reid Anderson agrees...

If it’s the performance I think it was, Sim, I cried too and I can still see how implacable Alina was when she was telling Onegin to go. Superb. 

[FionaM]

11 minutes ago, Fiz said:

If it’s the performance I think it was, Sim, I cried too and I can still see how implacable Alina was when she was telling Onegin to go. Superb. 

There is video on Johan’s website and his Vimeo channel 

 

 

Edited April 18, 2023 by FionaE
Typo

[balletfanatic]

I love that video so much - thanks for posting it. I miss them dancing together so much - love them

[Sim]

Love, passion, tragedy, wasted chances, desperation, sadness and heartbreak..... all in 7m50s.   Simply amazing from both of them.  Alina was only 23 here.  I too miss them very much, but am so glad to have had the opportunity to see them dance together many times over the years.  The memories will, I hope, linger.  💖

[DVDfan]

As I understand it from various odd snippets of information in interviews etc, RB like dancers to spend at least 2 years in the corps when they first join the company because they still have a lot to learn about stage craft, still need to build strength and stamina, and because this is when they make friends in the company. It also avoids putting too much pressure on too soon, before they are ready to handle it. After all, it's not as if they can't be given soloist or even principal roles for which they are particularly suited - I think Sambe was cast as Bronze Idol in his first season with the company, for example. And didn't Claudia Dean do the Chosen One in Rite of Spring whilst still at artist rank? So they need not be held back unproductively.

 

[Lizbie1]

And Sissens was cast in Symphonic Variations - very memorably! - in his second (?) season IIRC.