Mikhailovsky Ballet - news and issues

[Amelia]

The choreographer and teacher Mikhail Messerer has been appointed the Chief Choreographer at the Mikhailovsky Theatre with his contract lasting until 2017.

 

His previous position at the Mikhailovsky was as the main guest choreographer. He produced there Swan Lake, Don Quichote and Laurencia. From 22 to 26 of July he will show in the Mikhailosky his new production of The Flames of Patis.

 

http://izvestia.ru/news/553221#ixzz2YGNJINGW

[Bruce Wall]

This is EXCELLENT news !!!   So well deserved.  

[Amelia]

While we are waiting for the Bolshoi’ production of ‘Flames of Paris’ by Ratmansky to be shown at ROH in August the Mikhailovsky Theatre has presented this week another version of this ballet. Mikhail Messerer tried to reconstruct here the famous Bolshoi’s production by Vassily Vainonen.

Several reviews have already appeared in English:

 

http://www.ft.com/cms/s/2/e2662382-f37a-11e2-942f-00144feabdc0.html#axzz2a10jpaxL

Graham Watts:  https://twitter.com/GWDanceWriter

Laura Cappelle:  https://twitter.com/bellafigural

[jmhopton]

Would love to see the Mikhailovsky version to compare it with the Ratmansky one, especially as by re-creating rather than re- choreagraphing presumably he'll keep as much of the Chabukhiani choreagraphy as is known. it's had good reviews.  Perhaps they'll bring it if they come next year.  Joan

[Amelia]

Would love to see the Mikhailovsky version to compare it with the Ratmansky one, especially as by re-creating rather than re- choreagraphing presumably he'll keep as much of the Chabukhiani choreagraphy as is known.

 

This ballet was created first for Mariinsky and later for the Bolshoi Ballet by Vassily Vainonen. Chabukiani was the first Philippe in the original production. Several scenes with him have been filmed in 1954 but the rest, unfortunately, has been lost. Mikhail Messerer told the Russian TV News that he had to do new choreography in order to fill in the gaps.

http://www.ntv.ru/novosti/630304/ 

http://portal-kultura.ru/articles/theater/6608-mikhail-messerer-trudno-dvigatsya-vpered-zabyv-proshloe/ 

 

Edited: added the links.

Edited July 26, 2013 by Amelia

[Amelia]

Full casting for Mikhailovsky Ballet performances in the USA:

http://davidhkochtheater.com/moreinfoMB.html

[Bruce Wall]

Oh, lucky New Yorkers ... especially for the Osipova / Sarafanov Giselle .... TWICE .... casting made in heaven.   Messerer's Flames looks exciting too in its casting construct.

 

Let's hope that the Mikhailovsky comes back to London with similar force soon.  

Edited March 14, 2014 by Meunier

[aileen]

I hadn't realised that Osipova was still going to be dancing with the Mikhailovsky so much. Is she a permanent guest dancer (like Acosta at the RB) or are these performances one-offs, as it were?

[Bruce Wall]

I hadn't realised that Osipova was still going to be dancing with the Mikhailovsky so much. Is she a permanent guest dancer (like Acosta at the RB) or are these performances one-offs, as it were?

 

I would imagine certainly that Osipova will dance less and less with Vasiliev and vice versa.  He was a no-show in Japan with their ABT contract (he only has two performances - both Don Q in the same week - in the entire 2014 Met ABT season - He had only a matter of days before that long scheduled Japan ABT appearance cancellation danced in a gala celebrating his talents at the Mikhailovsky - ref: http://www.mikhailovsky.ru/en/media/video/ivan_vasiliev_gala/  [Hard to think of him as an ABT principal in anything but name now.  There are ABT guest artists with (i) more performances and (ii) a greater variety of roles] - and Osipova has just cancelled dancing with him at La Scala in Rubies in Jewels this week due to 'recurring injury'.  The nature of the 'injury' is understandably not defined.  I would think both have a certain understandable devotion to Messerer and therefore I imagine will maintain the link to the same.  Funny, I seem to recall the number of scheduled performances at ABT between Kirkland and Baryishnikov being similarly curtailed after a certain rupture in their personal chemistry.  However, both did continue in their assignments to ABT in that case, only with different partners.  Given the number of performances Osipova is scheduled for I don't think her devotion to the Royal could in any way be questioned however.  

Edited March 14, 2014 by Meunier

[bangorballetboy]

I hadn't realised that Osipova was still going to be dancing with the Mikhailovsky so much. Is she a permanent guest dancer (like Acosta at the RB) or are these performances one-offs, as it were?

 

As far as I recall, Osipova still has a principal contract with the Mikhailovsky (and is listed as a principal in their roster). 

[Amelia]

Only now I had time to take a closer look at Mikhailovsky’s casting in NY and felt rather sad. Ivan Vasiliev’s schedule is absolutely diabolical. Considering that this dancer never spares himself and gives his all at every performance the management (or may be Ivan himself?) are acting quite recklessly.

 

GISELLE - 

12 November - Ivan Vasiliev

 

THE FLAMES OF PARIS

14 November - Ivan Vasiliev

15 November, 8:00 pm - Ivan Vasiliev


16 November, 2:00 pm - Ivan Vasiliev


 

TRIPLE BILL


18 November - Ivan Vasiliev

19 November - Ivan Vasiliev

 

DON QUIXOTE


20 November 20 - Ivan Vasiliev


22 November, 8:00 pm - Ivan Vasiliev


23 November, 2:00 pm - Ivan Vasiliev

[betterankles]

Nureyev type schedule

[jmhopton]

In an article in this month's dancing Times Vasiliv says he would like to dance Mayerling. However, given the tricky nature of the role with all those pas de deux with different females (is it 6 pas de deux with 5 females?) I would have thought he'd have to commit more to a company as it's not the sort of role you can jet into a company and learn quickly. You would need intimate knowledge of all your partners and that takes time. Much as I would like to see him perform this role I think to expand his repertoire generally there will come a time when he will need to commit more to an individual company. I'm sure most companies will be glad to accommodate his need to guest with other companies just to have him on board. 

[Bruce Wall]

Vis a vis Vasiliev ...

 

Saw Vasiliev on Saturday afternoon in the principal role of Rubies at La Scala with the Company of that truly grand theatre's name.  The performance of Jewels was a decidedly mixed affair.  In many instances the company seemed to lack the precision of exact focus that is demanded.  They didn't appear (at least on this one outing) to have that strength in their ranks which - at any particular time - must define a truly great ensemble. 

 

The opening movement of Emeralds held more promise than would otherwise prove to be the case elsewhere.  Certainly Vittoria Valerio (in the V. Verdy role) was more at home in that movement - noting that she would later replace Osipova in the principal female assignment in Rubies - than she appeared to be elsewhere.  Her sense/strength of 'off balance' was blurred and that would really tell in the latter piece where at no point could she simply relax and enjoy herself.  So different from the entrancing Ms. Osipova in the same role.  A Shame.  

 

In each instance this was the third performance this particular cast was giving.  I was looking forward to this showing because it would at last be something different to see Vasiliev in apart from all those other massive outings such as have been otherwise itemised herein which I, too, have enjoyed seeing him decorate since I first spied him when he was 17.  His slyly forward thrusts at the opening of the Rubies pas were embellished with that delightfully mischievous smile that he is wont to spring but otherwise his overall lack of placement defeated him in Balanchine's challenges I fear (the stamps in the first quarter round were virtually non-extant) and his partnering was more than cavalier shall we say.  Indeed there was little sense of a relationship between him and anyone or anything else but his own determination to follow through.  Those devilish building churns - so redolent in my own memory when delivered, say, by the likes of Damian Woetzel, Robert Fairchild and, most recently, the wonderful Steven MacRae - where here not even completed.  In fact mid-way through Vasiliev virtually stopped and ran off stage.  He seemed to be in obvious pain when he returned in his one final campaign to complete the ballet.  At the very end when he lunged to his knee I could see his left hand clutching his lower back.  The scrawl burning on his face was excruciating in the extreme.  His response in the curtain calls - usually so ardent in its somewhat child-like thrill - was notably restrained.  Indeed he looked for all the world drawn in concern as if to say: 'What now?'  . It made me wonder if we will, in fact, see him in this week's Kings of Dance performances in London.  My heart went out to his concern.  Perhaps he has just been doing too much in too many different places.  

 

Polina Seminova of ABT and Friedemann Vogelmann (a principal with Stuttgart) in that consummate achievement that is Diamonds proved to be the real thrill.   Vogelmann as ever proved to be a chevalier of any ballerina's dreams.  It was intriguing to watch Seminova in her chosen transformations (more cool in their roundness than anywhere sharp) in THAT FABULOUS adagio were so different  - but no less telling - than those of Marianella Nunez the week before in London's  'Russian Icons' gala.  The large orchestra swelled in its precision here - as did the overall company - and the final promenade was made even more heady simply by virtue of being in the physical surrounds of such glorious splendour such as rightfully surrounded that overall picture.

 

A sidelight:  I had never been to La Scala as I had only ever passed through Milan on my way to other Italian landmarks.  This day trip was a thrill.  I would recommend it to anyone. (Helped that the sun was shinning too.)  It was also very cost effective.  I had caught a cheap return flight to Milan from London on Ryanair (£19.99/$33.18) and got a relatively cheap seat in the second gallery at La Scala in the front row of one of its side divisions (fourth from the nearest stage end) at a cost of 15 Euros (£12.45/$20.66).  A good 95% of the stage could be seen (which is far more than you would get in a similar position at Covent Garden).  The entire door-to-door cost of this particular jaunt was only £61/$101.26 and that included my food and entry to the La Scala museum (highly recommended).  In the museum you not only get to go into your choice of several of the central boxes in the grand La Scala but you can see a marble bust of Nijinsky which virtually speaks, stunning paintings of Patti and one glorious one of Tebaldi and death masks of Verdi, (as well as his piano and an open hand-written score for the Requiem), Puccini and Toscanini.  I became intrigued my the locks of hair of each - and especially that of Mozart.  It virtually glistened - much like his music; being a flaming golden brown.  There was also a special exhibition on featuring the costumes worn by Corelli on the second floor.  In one lower case on the ground floor there were items belonging to Verdi.  These had been extracted from his suite at the Grand Hotel where he lived and ultimately died.  So interesting to peer at the stamps and the writing instruments of the time.  Later I would make a detour in my whirlwind run around the city and go to the Grand Hotel et Milano itself.  It is suitably grand I must say but I was shocked that there was no reference that I could see that the great man himself had ever existed.  Very strange.  I even checked with the front desk staff in my broken Italian that I was, in fact, in the right place.  They politely assured me that I was.  Time is a strange thing - but the splendours of La Scala defeat the clock itself even now.  If you haven't had the pleasure I would highly recommend it.  Well worth the journey from any prospective I felt.  

Edited March 17, 2014 by Meunier

[Bruce Wall]

Oh, as an additional sidelight to my jottings above, here is a story of courage tied in and around Balanchine and one NYCB dancer, the recently retired Janie Taylor.  Truly deserving of the epithet: 'amazing'.  http://www.weeklystandard.com/articles/echo-balanchine_784907.html

[Aruna S]

Thank you, Meunier for mentioning the La Scala Museum, it sounds well worth visiting.

Re Verdi and the Grand Hotel, I'm a bit surprised because just the other day I was watching something on Sky Arts and the presenter visited the hotel and was shown the suite Verdi had occupied, which has been preserved with the original (or some of it anyway) furniture. I think it was the Suggs in Italy series but I could be wrong. I assumed they kept the suite that way so that it could be visited, but your experience shows otherwise.

[Amelia]

Last nignt Mikhailovsky Theatre showed Ashton’s “LA FILLE MAL GARDÉE ”

Various scenes can be seen here below, including duet of young dancers Anastasia Soboleva and Victor Lebedev, a creamy golden pony, and Michael O’Hare "clogging" as Widow Simone:

 

http://www.youtube.com/watch?v=XaoSNM8Y-3k&feature=youtu.be

http://www.youtube.com/watch?v=_jPHGk_JhAM

http://www.youtube.com/watch?v=8yclDyFQrAY

Edited to reduce the size.

Edited March 28, 2014 by Amelia

[Bruce Wall]

What joy.  Much thanks, Amelia  

[Jan McNulty]

Thanks for posting the links Amelia.  Michael O'Hare is absolutely one of my favourite Widow Simones so it was a joy to see him here.

 

Do you know who set the production for them?

[Amelia]

Thanks for posting the links Amelia.  Michael O'Hare is absolutely one of my favourite Widow Simones so it was a joy to see him here.

 

Do you know who set the production for them?

 

On the Mikhailovky’s website, Janet, you can find information about this production, including:

Staging by Mikhail Messerer, Michael O'Hare.

Music Director, Conductor: Philip Ellis

http://www.mikhailovsky.ru/en/afisha/repertoire/la_fille_mal_gardee/

 

I saw in the News Jean Pierre Cassigneul who made the scenery and costumes for “La fille” and, apparently, holds the rights after Alexander Grant’s death.

 

More clips: http://www.youtube.com/watch?v=LnkgEFEwPcM 

http://www.youtube.com/watch?v=BvOXdrFWeNk 

http://www.youtube.com/watch?v=8yclDyFQrAY

 

The cast for tomorrow: Lise - Angelina Vorontsova, Colan - Ivan Zaitsev,

Widow Simone - Nikolai Tsiskaridze, Pony - Lady (13 y.o.)

[alison]

The pony gets a credit.  How marvellous

[alison]

Oh, as an additional sidelight to my jottings above, here is a story of courage tied in and around Balanchine and one NYCB dancer, the recently retired Janie Taylor.  Truly deserving of the epithet: 'amazing'.  http://www.weeklystandard.com/articles/echo-balanchine_784907.html

 

Indeed, Meunier.  My goodness, what she has been through!

 

And I was particularly struck by this bit:

 

"But achieving perfect technique was never her ultimate goal. “I think it’s okay for someone to be a really special dancer, and they may fall down or not be as secure as someone else,” she says. “But I still feel like it’s worth seeing, and sometimes even more enjoyable to watch.”"

 

Not to mention the comments below it on Balanchine's appreciation of individuality.  Something for all up-and-coming dancers to ponder on, I think.

[Amelia]

Graham Watts tweets on ‘La fille’: https://twitter.com/GWDanceWriter

with some photos:

http://instagram.com/p/mIyay-jUCx/

http://instagram.com/p/mIwZSbjUPl/

[mart]

It is Jean Pierre Guasquet who owns the rights to Fille.I am sure that this production will have been beautifully revived by Michael O'Hare,who to my knowledge is the only dancer to have danced Colas,Alain and Widow Simone ,a very fine and sensitive artist,hopefully he will have reinstated the port de bras on the jetées at the beginning of Lise's variation (Mr Grant cut them out!)

[Amelia]

Thank you, mart! My apologies for giving a wrong surname by transcribing what I heard in the News in Russian translated from French. Dear Moderators, can you please correct this mistake in my post No.20. Thank you.

[Amelia]

FT, March 30, 2014 11:59 pm, gives "La fille" 4 stars.

 

La Fille mal gardée, Mikhailovsky Theatre, St Petersburg – review

By Gerald Dowler

 

http://www.ft.com/cms/s/2/225f7e9c-b663-11e3-b230-00144feabdc0.html#axzz2xYm4XCzW

[Naomi M]

News footage of Nikolai Tsiskaridze performing widow Simone's solo in La Fille Mal Gardee

 

http://www.vesti.ru/only_video.html?vid=588234

Edited April 1, 2014 by Naomi M

[Jan McNulty]

Thanks for the link Naomi.  I would like to have seen the whole performance; his facial expressions in the clip were interesting but do not give enough indication of how he would have performed throughout.  Michael O'Hare give such a subtle, believable and warm performance, I would hope he had teased this same out of Mr Tsiskaridze.

[Amelia]

I would like to have seen the whole performance...

Here you can see more of that scene, with some cute nuances:

http://www.youtube.com/watch?v=vplXP4aYv3E

As well as scenes from Act 1: http://www.youtube.com/watch?v=Bv8hhRMeqaY&list=UU0kEeTi3V9miDK5vMqbRQ-g 

Act 2:  http://www.youtube.com/watch?v=2r3Q_nTedVM&list=UU0kEeTi3V9miDK5vMqbRQ-g 

Act 3: http://www.youtube.com/watch?v=Z91W90DF4k&list=UU0kEeTi3V9miDK5vMqbRQ-g

with Angelina Vorontsova as Lise.

Edited for layout.

Edited April 1, 2014 by Amelia

[Jan McNulty]

Thank you so much Amelia.  I have watched the first 2 links and am saving the third for later.  I just loved it!

[mijosh]

Having seen some of the stills from this production I was somewhat alarmed (if hardly surprised) to see that Nikolai Tsiskaridze appeaars to be under the impression thet the Widow Simon is a glamourous role. A still of him in ActIII reveals him sitting - or rather posing at the spinning wheel with blue eyeshadow,bright red lipstick and earings. The late,great Stanley Holden must be revolving in his grave.

[Ian Macmillan]

No doubt these will appear in tomorrow's links, but Ismene Brown has translations of a couple of Russian reviews, both including Mr Tsiskaridze as Widow Simone:

 

http://www.ismeneb.com/Blog/Entries/2014/4/1_Ashtons_Fille_goes_down_a_storm_in_St_Petersburg.html

 

It all appears to have gone down very well, indeed.

[Melody]

Having seen some of the stills from this production I was somewhat alarmed (if hardly surprised) to see that Nikolai Tsiskaridze appeaars to be under the impression thet the Widow Simon is a glamourous role. A still of him in ActIII reveals him sitting - or rather posing at the spinning wheel with blue eyeshadow,bright red lipstick and earings. The late,great Stanley Holden must be revolving in his grave.

 

Not just that Widow Simone is a glamorous role but also that Widow Simone is the start of the ballet! Not surprising, I suppose, given the man's ego.