Bolshoi Ballet: Swan Lake, London 2013

[Bluebird]

I didn't catch the name of the dancer replacing Medvedev as The Fool... if anyone can provide this info thank you in advance! I thought he was a strong replacement et very much in touch with his character.

 

I'm pretty sure it was Alexei Matrakhov.

[Beryl H]

I didn't catch the name of the dancer replacing Medvedev as The Fool... if anyone can provide this info thank you in advance! I thought he was a strong replacement et very much in touch with his character.

 

Smirnova is just amazing! No other word. Expressive and impeccable technique.

I wrote down Alexei Matrakhov, he was very much in character wasn't he? although I dislike jesters those spins are fantastic and get the most applause in act 1.

 

After seeing Smirnova and Chudin twice in Diamonds and once in Bayadere, I was just the tiniest bit disappointed last night, not with Chudin who has to be my new favourite male Bolshoi dancer, there was too much "arm rippling" from Smirnova, though I often find this with Russian dancers, otherwise her technique was amazing (I wondered how she would cope with the Black Swan), many thanks to the Bolshoi for letting us see this beautiful young dancer!!! 

 

Also think there were more Swan Laker's than ballet fans in the audience, the response was more muted after the rapturous receiption for Diamonds, I only went to see Olga Smirnova so didn't care too much about the production, this might be one of Clement Crisps' "vile traducings", not really worse than so many others!

[Bruce Wall]

While others have reported and no doubt will continue to do so on last night's main fare which I thought in many instances a fascinating insight into a 'work still in progress' - (one leaving a healthy desire to taste of the finished repast whence fully baked) -  there were a few (albeit relatively minor details) that stood out for me:

 

• After somehow and strangely finding myself having been disappointed from a personal perspective with the admirable Anna Tikhomirova's second ballerina in EMERALDS (it being somewhat disjointed from the rare delicacy of Balanchine's intended arching frame) on Monday, I was oh, so delighted and relieved to see her back in truly spitfire fettle as the Spanish Princess, one ripe with Andalusian heat such as has been wafted through the Grigorovich sieve.  
   
• Loved the luxurious breadth of line of Yulia Grebenshchikova's second of those ubiquitous three swans.  I was relieved that it wasn't just the glittering silver of her nail polish that made the thrill of her dancing stand out.
   
• A word for Mikhail Kryuchkov's blonde bonnet in the waltz.  When this production opened London's Bolshoi tour season 2013 his coiff in the same role was so rigidly sprayed it alone could have stood rock solid on the stage had it suffered the same misfortune as Anton Savichev's Magedaveya wig in La Bayadere.  You will of course understand then why I felt I should heartily applaud the natural cut he now dons.  Here was one which allowed his corn rows to sway in much more natural tandem with his surrounds (which last night included the ever broadly smiling Savichev in the waltz corps).  
   
• As to the audience, I largely agree with BerylH's estimation ('Also think there were more Swan Laker's than ballet fans in the audience, the response was more muted after the rapturous receiption for Diamonds,').  I, myself thought we, as a group, were merely being prudent in our reserve.  We were I felt wisely protecting our future anticipation against, say, those frightening fears of 'Crispian' over-expectation.  We have all seen how - in the end - such can be truly harmful not only to the mental and physical health of certain dancers but to the art form as a whole.   Heaven (if not the FT) forbid.  Sometimes I feel - as entertaining as they are - his enthusiasms should come with due warning to the uninitiated.  Whether or not that potential (or we) will LIVE to be fully fulfilled only time will tell.  Still, surely that is part of the thrill of the calculated risk that is life itself.  That even survives the 140 characters of Twitter it appears.
  
  Blessedly there didn't appear to be any undue Russian 'claquers' present; those leftovers from an 18th Century phenomena such as has blessedly died out it appears everywhere else but INSIDE the Bolshoi.  While some traditions die hard I say BRAVA once again to the much missed Maria Alexandrova for simply telling hers to get lost.  For that (in my book) the greater artist she.  (Ref: http://www.nytimes.com/2013/08/18/arts/dance/designated-cheering-spectators-thrive-at-the-bolshoi-theater.html?pagewanted=all&_r=0)  I so pray she makes a full recovery.  FOR ME, hers was by some distance the best Odette-Odile of the four I was privileged to see by the Bolshoi on this particular junket. 

Edited August 16, 2013 by Meunier

[capybara]

Last night was my first, and only, Swan Lake this Bolshoi season and I have just read through the comments above. At the risk of repetition, it made a welcome change for the Prince to dance the pas de trois rather than to 'sit out' most of Act 1 on a convenient bench as he does in too many productions. The integration of the Princesses with the often tedious national dances gave them added meaning and zip. I liked that fact, too, that the Evil Genius is a dancing role although his frequent 'shadowing' of Siegfried's steps would have been given added power had their body shapes been a better match. The lack of mime and 'context' did not concern me but the ending lost its way dramatically and musically and left one with the question, "Is that it?"

 

I may return to the subject of Olga Smirnova's Odette/Odile......!!!

[mishapanda]

I had the incredible luck to watch last night's Swan Pake from the wings! While I'm aware that what I saw was not, strictly speaking, what the artists intended to be seen (and I didn't have much of a view of the scenery at all), I am so pleased to have gotten such a perspective on the performance.

 

I was truly impressed with Chudin, once again - his stamina, his charm, and his ability to stay connected and present even at times on stage when he didn't have much to do.

 

The Fool was such fun to watch, as were the trio of swans. The dance of the white swans just before Odette's return in act II was particularly beautiful to watch. There was such an evident synergy amongst dancers in the corps.

 

The biggest treat for me was the ability to have such a clear and close view of Smirnova's eyes throughout the evening. Apart from her incredible technique as a ballerina, what I saw last night was that she is not only a magnificent dancer, she is also a first-class actress! I don't know if the transformation she underwent was evident from further away, but from where I was watching...I was blown away. I didn't think she was as "flawless" as I thought she was in Diamonds, but this is a much more demanding role that she will grow into for years to come.

 

Such a special night for me.

[Bruce Wall]

I had the incredible luck to watch last night's Swan Pake from the wings! 

 

How exciting that must have been.  Do you mind one asking how you able to arrange that, mishapanda?  It's something I, myself, would love to do one of these days ... and I'm fairly certain many others would as well.  

[MAB]

Personally I don't recommend watching from the wings as you have to stand well back to keep out of the audience's view and also to keep out of the way of dancers making rapid entrances/exits, this means your actual view of the stage is extremely limited.  It can also be rather crowded with other dancers, teachers, dancers friends etc. also jostling for position.

 

If you can't get a seat and it is something you are desperate to see it is better than nothing I suppose.  It is interesting but could never be called exciting.

[LinMM]

Many years ago(hear I go again) My friend worked for the then Festival Ballet and while she did I did some dressing for performances....just the corps as main dancers had their own dressers. This was at the time Evdokimova was one of main Principals and Nureyev would guest (at the Coliseum)

It was actually quite nerve wracking dressing for some productions especially sleeping beauty and swan lake where there were some quick changes of costume but one of the perks was being able to watch parts of performances from the wings.....where the nitty grittiness of it all really struck home.

 

Once I was standing watching engrossed when I suddenly felt a presence next to me only to turn and see none other than Nureyev there. I immediately wanted to disappear of course.....what if I was in the way...but he gave me a lovely smile and I have never forgotten this....as the least of the minions in that environment!!

I did see him lose it once with his own dresser (I'm sure his name was Luigi) but most of the time in that season anyway he seemed to keep fairly low key.

[LinMM]

We were posting same time MAB. Yes I was young at the time and found the whole thing of being backstage extremely exciting.

 

But as a general rule would prefer to see from the front of house!!

It's okay from the wings as an occasional thing but as you say you do have to know the ballet well so as to know when to keep out of the way etc! Very interesting experience if you've never done it but not that relaxing!!

[mishapanda]

I did indeed want to watch from the house...I attempted to get a ticket but the queue yesterday was far longer than for Jewels on Tuesday, and I waited for nearly three hours but it didn't end up working out.

 

I worked with one of the dancers a couple of times this week and she had already offered to let me watch from backstage. When it became evident that I would not get a seat in the audience I decided to take the offer. You're right Mab: it wasn't relaxing and there were some things I couldn't see, but I did find it exciting nonetheless!

[Beryl H]

I've just read that Thursday was only Olga Smirnova's second performance  in Swan Lake, that is amazing, I had no idea, thought she had danced it several times already, this was from Luke Jenning's review.

[Bruce Wall]

Many of those who contributed to this chain might be interested in this new film link put out yesterday by NYCB on Swan Lake with two ballerinas (both very talented; both very different dancers) Ashley Bouder and the truly exquisite (well, from my perspective) Sara Mearns.  They speak about their experiences and approach to Swan Lake in Peter Martins' production (which has to - from a design perspective - be one of the ugliest I've ever seen.)  That said among contemporary ballerinas I truly feel that Sara Mearns must stand amongst the international best: http://www.youtube.com/watch?v=v19PaQ6XF48&feature=player_embedded#t=275  It would be wonderful to see her be able to guest with the Royal in this (or so much else for that matter).  Perhaps the Royal might like to try (as a one off) presenting Balanchine's one act take on the Ivanov classic ... which had so many different solos he choreographed for the various dancers who performed it.  (If you are in NY there are wonderful tapes of these differences in the Robbins Collection at the NYC Lincoln Center Public Library.  They are available with free access as an educational outlet for the better understanding of all.)  

Edited August 30, 2013 by Meunier