Bolshoi Ballet: The Flames of Paris, London 2013

[patsomerset]

Oh well here goes again but won't be as "live" so to speak as the original now lost post....the spirit of the moment so to speak!

 

Meunier I share your obvious love of Osipova and Vasiliev and now I know...as you say...the ballet was created around them this explains a lot. I didn't buy a programme yesterday (at £12 just a bit too much) but sort of got the plot without it.

I thought Lantratov was excellent yesterday and my eye was drawn to him when he was on the stage but as you say does not have that dangerous edge that Vasiliev has who.....although he may not have the cleanest technique more than makes up for it with the stunning vibrancy of his performances. All the Bolshoi ballerinas have their own particular quality and Shipulina is a fine dancer but for example there are some hops on pointe across the stage which are similar to ones in Don Q .Shipulina did them very well yesterday of course but did not have me literally on the edge of my seat (which I did have for that perf) when Osipova did this in Don Q.....another dancer who lives dangerously!!

I didnt have a problem with the dancers though so much as this ballet itself...really a sort of romp through the French Revolution!! i know the court entertainment bit in the first Act, showing the vapouries of the french court was needed as a contrast to the revolutinary zeal going on not that far away but it did go on a bit and couldnt wait to getbback to the real action! And then that infernal "roman scene" even found its way into the second act again....in ridiculous costumes this time as well(poor Denis Rodkin) This could have been an opportunity to have perhaps a dramatic and moving farewell pas de deux for Jeanne and Adeline instead of her rather abrupt almost perfunctory beheading with the then pathos of Jeanne rather lost...and Savin's talents....who is obviously a brilliant actor...the more so to get something across with all the general razzmatazz going on...rather wasted.

Though I did feel the final advance down the stage towards the audience was an effective ending but by that point had stopped taking this ballet seriously!

Regards the music yes I did recognise some well known French songs there including the Marseillaise but the OVERALL affect was not that memorable. And why the tinny recordings of the Marseillaise? The two non ballet going friends with me brought this up on their own account afterwards.....could not at least a live singer(or two) have delivered a stirring rendition of this at some point at least or the orchestra at least have played it! The recording detracted from the general musical experience. Although as I said before the second Act was better.

Well we all still enjoyed ourselves yesterday and....hey standing to see the Bolshoi for only £15 not a bad deal at all!!

It was lovely to see my friends reaction to the ROH too...they were well impressed and definitely want to repeat that experience at least!

So it's what to see next for them......have also promised to keep my eyes glued for any Osipova /Vasiliev performances....in any theatre.....as I think Ive inspired them that these are the must see couple so fingers crossed they will be dancing in UK together again this year at some point.

 

Thank you Lin for having another go!  I too was there yesterday afternoon and what you say just about reflects my own views of the performance.  I would have dearly loved to see O&V the evening before but it wasn't to be, so I have nothing with which to compare the matinee.  I have not seen this ballet before and to be honest it is not on my list of 'must see again'.  I thought the first act was very slow and seemed to be a hotch potch of ideas taken from just about every ballet you have ever seen with the court entertainment, that ridiculous Roman costume and so on.  I also thought the music way too loud; it seemed to overshadow the not really very exciting dancing.  The second act however was a different matter.  It came to life and produced some lively dancing and of course that beautiful pdd which was far too short as far as I was concerned.  I liked Lantratov and he did indeed draw one's eye when he was on stage.  Maybe they were conscious of being the 'second' cast, I don't know, but I felt they very much upped their game during the second half and deserved the reception they received.  It was my only Bolshoi performance this season and I felt I had chosen quite well.  I don't particularly want to see it again but given the rather predictable choice of repertoire this visit I was pleased I had chosen, this but don't feel the need to do it again

 

I didn't see the description of your outfit until I got home Lin, so I don't know whether I saw you or not!

[capybara]

'Flames' is one of those ballets where one's appreciation seems to benefit from more than one viewing. I, for one, hope that the Bolshoi will bring it back in two years' time.

Edited August 18, 2013 by capybara

[LinMM]

I was standing on the extreme left of row D in the Stalls Circle. I was with two friends who dont normally go to the ballet but we didn't go out for the interval and were mostly talking about the ballet and ROH atmosphere etc.

Inspite of Flames not being overwhelming as a ballet we still enjoyed it....they probably more so than myself as had not much other ballet experience to compare it with. Glad you enjoyed to inspite of itself!!

[patsomerset]

I was standing on the extreme left of row D in the Stalls Circle. I was with two friends who dont normally go to the ballet but we didn't go out for the interval and were mostly talking about the ballet and ROH atmosphere etc.

Inspite of Flames not being overwhelming as a ballet we still enjoyed it....they probably more so than myself as had not much other ballet experience to compare it with. Glad you enjoyed to inspite of itself!!

 

Yes, in spite of not being over the moon, I did enjoy it.  Ideally I like to come away excited and/or moved and it was only partially successful in those respects.  I'm probably a bit of an old stick in the mud but so far only Giselle, R&J and Don Q really do either one or the other for me, so far anyway!

[patsomerset]

'Flames' is one of those ballets where one's appreciation seems to benefit from more than one viewing. I, for one, hope that the Bolshoi will bring it back in two years' time.

 

OK then, I might try again!

[Beryl H]

I knew this production from the Blu-Ray and booked for the 3 performances to see different casts, which I did, though not always the one's I expected, I have noticed that Alexei Ratmansky has a wicked sense of humour seen in Bolt and Bright Stream, also the Court scene in particular in Flames has some wonderful sly humour, Denis Medvedev's cameo role of Louis 16th was a gem, he danced it every time although the first cast list said Ruslan Skvortsov(who danced the Marquis every time). Both the Amours were lovely, I preferred Chinara Alizade, (good to see all the dancers out of tutu's for a change) Artem Ovcharenko and Kristina Kretova were better at the droll acting in the Masque pdd, but both couples danced beautifully, imagine the girl's solo on pointe is very difficult.

 

I like the quiet pdd for Angeline and Jerome in act 2, but some of the Ratmansky choreography seems rather dull and clumsy, especially the first scene where Jeanne keeps getting thrown about, the booklet with the Blu-Ray itemises which is Vainonen, and which "after" him, the rest is Ratmansky.

 

The second act is much more exciting, and is what most people expect from the Bolshoi,  the pdd for the Actor/Actress is more Soviet in style and very thrilling, and then of course that pdd, you have to see Osipova and Vasiliev and then you don't really believe it!  Ivan did look a bit tired on Saturday night, can't blame him, he was generous in agreeing to dance two night's running and it didn't detract at all from his performance, Ekaterina Krysanova was almost as good as Osipova, some would say as good, she also has fast footwork and lightness and her fouettes were spectacular, they got faster and faster at the end but she did a perfect stop.  In comparison of course the matinee cast couldn't repeat O and V, but I got a lot of pleasure in watching Ekaterina Shipulina who I haven't seen a lot of, and liked Vladislav Lantratov's Philippe very much indeed, thought he showed an Errol Flynn like approach to the role and he has the most wonderful elegance and technique, he probably danced the correct Vainonen choreography too

 

Fantastic way to end the Season!!!

Edited August 18, 2013 by Beryl H

[patsomerset]

I knew this production from the Blu-Ray and booked for the 3 performances to see different casts, which I did, though not always the one's I expected, I have noticed that Alexei Ratmansky has a wicked sense of humour seen in Bolt and Bright Stream, also the Court scene in particular in Flames has some wonderful sly humour, Denis Medvedev's cameo role of Louis 16th was a gem, he danced it every time although the first cast list said Ruslan Skvortsov(who danced the Marquis every time). Both the Amours were lovely, I preferred Chinara Alizade, (good to see all the dancers out of tutu's for a change) Artem Ovcharenko and Kristina Kretova were better at the droll acting in the Masque pdd, but both couples danced beautifully, imagine the girl's solo on pointe is very difficult.

 

I like the quiet pdd for Angeline and Jerome in act 2, but some of the Ratmansky choreography seems rather dull and clumsy, especially the first scene where Jeanne keeps getting thrown about, the booklet with the Blu-Ray itemises which is Vainonen, and which "after" him, the rest is Ratmansky.

 

The second act is much more exciting, and is what most people expect from the Bolshoi,  the pdd for the Actor/Actress is more Soviet in style and very thrilling, and then of course that pdd, you have to see Osipova and Vasiliev and then you don't really believe it!  Ivan did look a bit tired on Saturday night, can't blame him, he was generous in agreeing to dance two night's running and it didn't detract at all from his performance, Ekaterina Krysanova was almost as good as Osipova, some would say as good, she also has fast footwork and lightness and her fouettes were spectacular, they got faster and faster at the end but she did a perfect stop.  In comparison of course the matinee cast couldn't repeat O and V, but I got a lot of pleasure in watching Ekaterina Shipulina who I haven't seen a lot of, and liked Vladislav Lantratov's Philippe very much indeed, thought he showed an Errol Flynn like approach to the role and he has the most wonderful elegance and technique, he probably danced the correct Vainonen choreography too

 

Fantastic way to end the Season!!!

 

I enjoyed hearing from someone who saw all three performances and found a lot to enjoy in all three.  I liked your comparison of Lantratov to Errol Flynn.  He did indeed present a very elegant, glamorous figure right though to the curtain calls!

[LinMM]

Agreed on Lantratov!! Would like to see more of him next time. This was my only trip to Bolshoi on this occasion too.

I also thought Denis Medvedev was a master in getting just the right touch for the comedic role of Louis.

 

I wouldn't say I would NEVER see this ballet again and I'm sure there are some witty references etc here and there but not my prime reason to go and see ballet. It is what it is and now I know what it is I could probably enjoy with some starry dancers of the ilk of Osipova and Vasiliev performing to give the whole choreography a lift.

 

Also if doing a romp there are better subject matters than the French Revolution.....unless you are actually aiming to do a black comedy approach of course!

[Bruce Wall]

Errol Flynn, huh .... Just wanted to again praise VITALY BIKTIMIROV.  While his definitive Catalabutte reminded me of nothing less (as noted ) than the genius of Peter Sellers, his FLAMING Gilbert in the two performances I was privileged to see him dance his captain of the Marseillais (sadly he didn't do the role in the matinee) was out and out David Niven.  Or is that meant to be through and through?  In ANY event - and in all - he was unquestionably sublime in the detail of both his character and his dance. 

Edited August 18, 2013 by Meunier

[Jan McNulty]

My one and only visit to the Bolshoi this season was to see yesterday's Matinee of Flames of Paris.  At the end of Act 1 I was a bit underwhelmed by the ballet but by the end of Act 2 I just loved the whole thing!

 

I was discussing the ballet with a chum at the end of the performance and he said that in his opinion Act 1 was an irreverent take on French court dances and that made sense to me.  In fact I thought the production, when you got beyond the ludicrous plot, was enormous fun and rose above the plot!

 

I thought the cast were terrific and was well taken with Shipulina and Lantratov.

 

I think I made the right choice of performance for me.

[jmhopton]

Just got back home after seeing all 3 Flames performances with my husband. What a weekend!! Well worth the huge expense of transport, accommodation, dogs in kennels etc. The excitement that several people (including me) thought had been slightly lacking this season was certainly there for all these performances; especially the first!!!!!!

 

I agree with many of the comments aready made by others. At the end of the first act we were both were rather underwelmed by the whole experience. I really enjoyed the revolutionary dances and seeing the wonderful Andre Merkuriev at last (seen all too briefly in this visit). I thought Anna Rebestskaya was really excellent as Adeline; best performance in the role for me. However, I thought the court scene was over long and (dare I say) rather boring. By ending the first act with it I thought it ended the act on a low note; whereas if it had had 10 minutes cut out and ended with the revolutionaries it could have ended on a high. However, that's just my opinion. I have to say the court scene does grow on you a bit the more you see it though I still think it's too long.

 

However, the second act, well!!!!! it was just amazing. I didn't want it to end. Osipova and Vasiliev have done it again!! They gave the performance of a lifetime. I've been seeing the Russian Companies since 1990 and this is definately up there in my top 2 or 3 performances. it was just sensational!! They knew it and were shamelessly playing to the audience but their joy in life, in dance and in each other just shone through. You think she'd been dancing in cuban heels all her life; her attack, vivacity and sense of 'going for it' and disregarding any possible consequences makes her virtually unique in female dancers. She just seemed to be having a splendid time and that was communicated to all the audience. As for Vasiliev; well, words fail me!!! Was this what it must have been like watching a young Nureyev? I'm not old enough to remember. the sense of excitement when he did that very theatrical walk upstage to start his solo was palpable. You could have heard a pin drop. It was as if everyone was thinking 'this is what I've come to see; please don't disappoint' and of course he didn't. I thought the dvd and clips on YouTube were sensational but words aren't sufficient to describe the impact of seeing him live. there were audible gasps round the auditorium as he leapt into his gravity defying leaps and scattered applause kept breaking out throughout his variations as if the audience couldn't contain itself and wait for the end. The lady sitting next to me kept muttering 'no, no, he can't do that, he can't' but of course he could!! This is the 11th performance by him I've seen and it is arguably the most sensational ( his 1st Don Q; at the Coliseum -not ROH;  and his 1st performance at the ROH in 2010; are the only performances I've seen that can compare). it's not just his amazing leaps and turns but his sheer physical presence and, like Osipova, his 'going for gold' regardless of consquences that make him unique among todays dancers. If there was an Olympic medal for ballet they would both win it for their unique style and vitality - and this is magnified when they both dance together. of course their style is not to everyone's taste. When my husband had been to see them in Laurentia earlier this year he was waiting at the bus stop with 2 men who were very dismissive about his performance. They said 'Of course it's not ballet what he's doing. He's just throwing himself about the stage. No artistic merit at all'!! We thought that was very funny and  last friday after we'd recovered the power of speech we said 'yes but he's just throwing himself about the stage. No artistic merit at all!!! very tongue in cheek!!! At the end of the ballet the cheers nearly took the roof of and are possibly the loudest I've heard since that first performance together at the Coliseum. The curtain calls and foot stamping went on for ever and the curtain calls got ever more outrageous with the men vying with each other to see who could be last off!! A sensational end to an amazing evening. it is interesting that though they are what I think of as a dance lovers couple (ie not very widely known outside ballet going circles; no tv appearences or covers on Hello) England seems to have taken them to their heart and their performaces sell out faster than virtually any other dancers today. They too seem to have taken England to their hearts with their decision to live here and for Natalia to base herself at the Royal Ballet.( I hope it's not too long before we see Ivan perform with an English Company too; even if it's just as a guest; there are several to choose from.) I waited at the stage door afterwards and there was just as big a crush there as when they did Don Q in 2010. About 50 or 60 people waiting and not leaving even though there was a bit of a wait. When Ivan did come out there was such a surge forward I thought I was going to be crushed. Everyone applauded him and he took it all in his stride, signing and posing for photos with great patience and good humour as did Natalia when she appeared.

 

After the excitement of Friday it was always going to be difficult to follow that but I thought the matinee cast did a very creditable attempt. Denis Savin was very good as Jerome but I did miss the easy charm of Andre Merkuriev who has been woefully under used this season; possibly because of the lack of 'character' ballets. I thought Shipulina was good but not as moving as either Osipova or Krysanova. Also why was she in knee length boots for her 'character' dances in the second act? Both Osipova and Kyrsanova wore the cuban heels Ratmansky specified in the rehearsal scenes on the dvd. For me the star of the afternoon was Lantratov. I enjoyed his Bayadere Solor at the cinema though I didn't see him perform it live as Terry went that night. However, I thoght he was brilliant as Philippe. Very different to Vasiliev. it was a much more polished, classical performance and didn't set your heart racing but it was beautifully performed and he was still very accomplished in all the 'tricks' the role requires even if the dangerous edge was lacking. It also helped he was drop-dead gorgeous to look at! He reminded me of an early Filin; same easy charm and bobbed hair style; just a bit taller. definately someone with great talent to look out for in the future.

 

The evening performance was possibly my least favourite of the 3. Though still very good it didn't seem quite as good as the others; perhaps I was suffering from Flames overdose or perhaps the dancers were. it is a long season for them coming after a long 6 months with all the trouble they contained. I thought Krysanova very accomplished as Jeanne; the closest to Osipova in joi de vivre. However, I didn't think Ivan's partnering was as accomplished as it was with Natalia; not surprising really as he won't have had the experience. I don't know why they initally said Osipova was dancing again and then changed their minds. Was it her suggestion or the Bolshoi's? It would make more sense to me to go out with a bang with the 2 of them and also give Ivan the partner he's used to but without knowing the situation it is difficult to comment. Like one or two previous posters I thought Ivan was tired that night. he still gave the performance 100%; possibly even more so than previously as it all seemed more of an effort second time around. the audience were enthusiatic but not exctatic as they were the day before. The spark was missing; whether that was Osipova or he was just tired or a combination I don't know. I do worry a bit about his fitness. it he is not attached to a company where or how does he attend company class? Without class I suspect a performer's fitness can lapse. there is the old saying 'miss one class you notice it, miss 2 your teacher notices, miss 3 everyone notices'. Ivan said once he didn't go to the gym, he dances to keep fit but if he is not dancing how is he keeping fit. At the stage door he seemed quieter; a bit more subdued though still as friendly and charming as ever.

 

Before finishing this rather lengthy posting I must mention the wonderful King Louis XVI of Denis Medvedov. he was brilliant; really funny, playing it dead straight; always the best way to get laughs.

 

Was slightly disappointed Filin didn't appear again to see how we appreciate both him and his wonderful company. I just hope his eysight is sufficient for him to get back to work again in September like he hoped. We all wish him well.

 

I just hope we don't have to wait another 3 years before they're back and with hopefully a more adventurous rep. Can I put an early plea in for Bright Stream and possibly either Pharoah's Daughter or Esmerelda  I would also love to see them do Onegin and I have heard they are acquiring Marco Spada which I've never seen performed live. Plenty of choice there without having to resort to loads of Swan Lakes!!      Joan

[LinMM]

If I had known the casting when I booked the tickets for Flames I would have gone for Osipova and Vasiliev as I think my non ballet going friends with me would have been blown away by them and truly understood why the Bolshoi have such world renown! Even though they were impressed with the overall show in the end!

 

Have said enough on this already but thanks for your post Joan I can feel how much you have enjoyed it all!

 

And I could become an Osipova and Vasiliev "groupie" even at my somewhat advanced age when I should know better but the risks they both take bring this out in one!!

Linda x

[alison]

I love the bitter twist at the end (though maybe not the saggy cloth head). It seems to make people subdued in their perplexity - as in, did that really happen? But love the driven march to stage front by the entire cast, except poor old Jerome of course.

 

What I found most perplexing - as I did when I first saw it a couple of years ago - was that Jeanne and Philippe seemed very deeply - and understandably - affected by Jerome's sorrow, but could then walk back and get in line with all the other revolutionaries and just carry on that unrelenting forward march.  It seemed to me to undermine the power of the loss.

[ENBlover]

It's just a revolutionary equivalent of "stiff the upper lip".

[Amelia]

What I found most perplexing - as I did when I first saw it a couple of years ago - was that Jeanne and Philippe seemed very deeply - and understandably - affected by Jerome's sorrow, but could then walk back and get in line with all the other revolutionaries and just carry on that unrelenting forward march.  It seemed to me to undermine the power of the loss.

 

 

It's just a revolutionary equivalent of "stiff the upper lip".

 

 

It undermines the power of the loss but strengthens the overall message of the entire production, its exact idea: the revolution is cruel, revolutionary ideas twist people’s characters and destroy their own and other people’s lives.

 

In my young years I saw the Vainonen’s production at the Bolshoi several times. It glorified the revolution, the power of the crowd, justified the killing of royalists and urged to mourn the death of the revolutionary Basque woman Theresa. A different approach to the subject wouldn’t be allowed by the strict censorship. The duly brainwashed audience loved these ideas and admired the great performers: Lepeshinskaya, Yermolaev, Asaf and Sulamith Messerer and fantastic character dancers.

When travelling to Moscow a few years ago to see the new production of “The Flames”, I was sure that accents would have been changed and wondered what kind of message will be brought in by Ratmansky. I think he did an admirable job. He showed how two  lovely peasant youngsters became first attracted by the sight of marching Marseille soldiers and then, after the Marquess’ attempt to rape Jeanne and his cruelty to Jerome, wanted to fight for justice and eventually abandoned their distraught parents.

There is a scene there where five characters, including Jeanne and Jerome, are doing quite a violent dance with a lot of bending and hands and legs shaking, which seemed to me as a metaphor of them being moulded into a new type of people. They dance with novices’ zeal and Jeanne seizes the spear and being almost delirious with delight circles with it and later with the tricolour flag.

They both, Jeanne and Philippe, still can sympathise with Jerome’s loss but cannot resist the revolutionaries’ calls back to their ranks. Together with the crowd they start their march and walk over their distressed and grieving brother. So true to life. That life. And it is not necessarily "stiff the upper lip". The revolutionary fervor can even set brother against brother and make children willingly denouncing their parents.

This plot doesn’t seem ludicrous to me at all but truthful, poignant and warning. I admired Ratmansky’s humanity and the way he illustrated the well-known adage "the Revolution like Saturn devours its own children" ("A l'exemple de Saturne, la révolution dévore ses enfants").

[simonbfisher]

Amelia - this so clearly expresses my understanding too - and while watching it on Saturday the self-same quotation came into my mind. I know Brecht used it as well, but who is the original French from?

 

I'd also like to say a word or two about the court dances and the actor/actress : the lengthy dance in court, which some find superfluous, I find brilliant as long as it is undermined (as it was so well by Kretova and Ovcharenko) with fairly obvious irony to show it's essential vacuousness : the steps and the costumes and the conceits are all so highly wrought and precious and serve, like the self-conciously baroque architecture they reflect,  but to entertain an empty-headed and bored court. The hopping monarch (almost frog-like - am I allowed to say that?) reinforces this. Then when they appear post-revolution in almost the same dance but to the glory of the People it shows, to me anyway, how the revolution may be thought to use and adapt what it ostensibly replaces. Let's remember, too, that the original Flames of Paris would have been staged in a city where culture really was accessible to the masses, as the actress/actor now are. One of the few things one misses in the old Eastern Europe is the price of tickets to ballet/opera/theatre : ridiculously cheap not only for the Western visitor but also for the locals.

[MAB]

The older version of Flames of Paris can still be seen in some old compilation videos and clearly there was a lot to admire, whatever the underlying propaganda message was.  The original romantic pas de deux for Mirelle and Antoine, which Amelia says was first danced by Ulanova, is very beautiful and I hope Misha Messerer has left it in his new (more authentic) version.

 

Some people will never take to a ballet like Flames because of the unusual blend of character and classical ballet, but for me that is what the Bolshoi does so well: it presents a vivid canvas of actual events with Ratmansky's interpretation of historical performance.  There is a lot of melodrama, pathos and over-the-top virtuosity, but having been to all three performances, I can confirm the audience was wildly enthusiastic every time and although there were nay-sayers they were in the minority.  A stunning end to the season in my view.

[alison]

Clearly I missed some of the nuances of this from the back of the amphitheatre, then.

[LinMM]

In the end though I was still left unmoved by the piece....not moved by beauty, drama or (but nearly came into this) excitement OF THE DANCE itself. It was essentially a sort of melodrama to me with a few exciting dances in the second Act from principals and general company. The whole thing a little contrived I feel(sorry Ramansky)

 

I'd still go to see something else by this choreographer and perhaps this is the way to gain an understanding of his work

 

Who knows Flames COULD become an old favourite at some future date but I stay with my current feelings in the present.

 

If that wonderful but all too short Pas de deux in the second act were removed how much would this ballet stand up then?

[Jan McNulty]

For me the sum of the parts was far more than the individual elements. Saturday afternoon was the only time I have seen Flames of Paris but I think MAB has summed it up beautifully above.   I have felt this way about Spartacus too - starting off being bored but being swept away by the end!

[MAB]

Ratmansky is not a choreographer to be pigeon-holed, although he has tackled three Soviet blockbusters; his original work is mainly very subtle and inventive.  You don't have to go to Moscow to see his work, the RB's Twenty four Preludes was created right here in London earlier this year and was full of nuance and poetry.  He understands dancers  and choreographs to their strengths which is why his works are now in demand worldwide.

[LinMM]

MAB I may be misunderstanding exactly what you mean by " the unusual blend of character and classical ballet" but isn't this what Macmillan does so well. Or do you mean Ramansky chose more obviously heroic characters/subject matters. where perhaps Macmillan went more for tragic characters/subject matters.

 

But I'm sure the blending of character and classical dance would apply to Macmillan and if it does then TO DATE he has done this more successfully?!

[LinMM]

Posting simultaneously MAB ....yes I would very much like to see this 24 preludes work then.

 

I will try and see some of his other work if inUK

 

Do you happen to know of anything coming up in UK in 2014 of his work?

[MAB]

In Russia character dancing encompasses genre and national dance; many dancers there actually specialize in this kind of rep, though there is a bit of an overlap with some of them.  MacMillan rarely touched that kind of character dance.

[LinMM]

Understand now where you are coming from!! Viz a viz his choreographic style for some of his work.

 

It's strange really because I love national character dance and during the 70's and 80's spent a lot of time with two main groups one Polish and the other Hungarian even performing with them! Ive also done a bit of Flamenco and Indian (kathakthali)......very fast moving form from which Flamenco is supposed to be derived!! I didn't actually do a Russian Character class but always went to see the performances of any of the big Russian/Georgian companies when in UK.

 

So I should LOVE Ratmansky's work!!

 

Anyway this is getting into new thread territory about Ratmansky. I didn't HATE Flames just didn't rate it as a top ballet that's all.

[LinMM]

I can see I initially misread your meaning of "character" .....you meant as a dance style....I read as a human character or personality!!

[Amelia]

Yes, LinMM, you got it right now. The dances performed, for example, by Igor Moisseyev Dance Ensemble are folk dances while those based on folk dancing and staged by choreographers for ballet productions are called in Russia character dances. Training in them is compulsory in Russian ballet schools (professional ones) for all pupils, regardless of what they are planning to dance in the future.

In ‘the Flames of Paris’ it is Auvergne Dance and Basque dance where Osipova and Krysanova are wearing proper shoes on heels. Quite a difficult thing to do - to change swiftly from heels to points and to dance after a few minutes a proper classical pas de deux.

Russian ballets are usually bristle with character dances and the companies are proud that they can perform them properly. Many people btw were critical of Grigorovich when he replaced character dances in ‘Swan Lake’ with Brides dancing on points.

Character dancers are a special caste in classical ballet. No one explains it better than one of the best exponents of character dance - Yuliana Malkhasyants:

http://www.ballet.co.uk/magazines/yr_04/aug04/interview_malkhasyants.htm

Sorry for deviating slightly from the original topic.

[Shade]

I saw the opening night and felt that the Bolshoi - big, bold, bravura was back. I had waited all Summer for this performance  and I enjoyed it all -  it had a flavour of the closing Don Q of the 2010 season (although to me nothing will ever match that). Osipova and Vasiliev seemed to energise the whole cast and it really felt like the dancers were enjoying the show. I loved all the principals and Amour. The toddler was adorable! I had to laugh when Vasiliev was strutting his stuff before his Act 2 piece - but he gave his all to the performance. Also laughed at the curtain calls where there was a stand-off between the male leads! I noticed that Vasiliev is great at catching those flowers - i think he did that after Laurencia too. When Vasiliev honoured Osipova at the curtain call it was such a sincere gesture it made my heart melt.

 

Thank you Bolshoi for bringing Flames to London and inviting Osipova and Vasiliev to dance. Please  come back soon.

[Jan McNulty]

Welcome to the Forum, Shade.  Please keep posting your thoughts!

[chrischris]

I think I must be the only person who really didn't like it. I booked to see Osipova and Vasiliev as I have heard the hype, but all I saw was two people showing off. I just found it irritating.

[LinMM]

I didn't see this particular performance but saw them in Don Q and know what you mean!

 

However there's showing off when you have little talent and showing off when you have loads of talent!

 

Somehow it seems okay in the latter case because you've got something to show off!!

 

I definitely would put them in the loads of talent category.

 

 

 

 

,

[chrischris]

I didn't see this particular performance but saw them in Don Q and know what you mean!

 

However there's showing off when you have little talent and showing off when you have loads of talent!

 

Somehow it seems okay in the latter case because you've got something to show off!!

 

I definitely would put them in the loads of talent category.

 

 

 

 

,

 

I agree they have talent, but then every professional dancer has talent. I think it's just personal preference. I just don't really like it, and I think I spent most of the performance rolling my eyes.

[LinMM]

There aren't that many ballets where you can get away with showing off in the way that you saw but now having seen this ballet I would say this is one like Don Q where you can get away with it because of the general mood of the piece in the second Act.

 

Apparently as you can see from reading this thread Ratmansky liked using national character dances interwoven with the ballet and in most character dancing there is this showing off mode.....in Polish dances for example the men in particular challenge each other to do more daring things and its the same in Russian character dancing. So some of this natural folk essence and people showing off in the village square or wherever I think is what Ratmansky is trying to catch in some of his ballets...as in this one.

 

I think that's why in the pas de deux in the second Act in particular this is taken to extremes in the more balletic section as well!!

 

The above could all be rubbish but just a sort of explanation without getting into generalisations about the differences between the Russian and British or should I say English character!!