Mariinsky Ballet: Swan Lake, London, August 2014

[assoluta]

I don't follow.

You ask why should Skoryk be furious. Imagine the feelings the Step sister experiences going to a ball where she is presented as a star and seeing Cinderella on every poster.

 

The parallel is very precise, by the way. It seems that next to nothing about the situation at Mariinsky can be assumed to be known on this forum.

[assoluta]

A word about choices of photos for posters, very often it is a case of choosing an image that can be adapted to accommodate the written information as much as the perceived attractiveness of the actual picture. I imagine the picture was selected for suitability rather than the featured dancer.

I think you mentioned that you just returned to London. Therefore you may not be aware that there was an entirely different set of posters. Around July 15 all of those posters were removed on the initiative of the Hochhausers and replaced with a single one, representing Stepanova as Firebird, and the reason was apparently totally different from the one you propose.

Edited August 6, 2014 by assoluta

[ENBlover]

This discussion has nothing to do with the topic.

Edited August 6, 2014 by ENBlover

[Bruce]

This thread has turned into a sad place.

 

Assoluta and others who might feel similarly: A company cannot be run by fans and claques. The director chooses who does what and inevitably we all see some of our favourites not preferred. That's life and will never change. Starting a guerrilla war, sniping from behind anonymous accounts and talking down other dancers is no way forward and based on what we are seeing here probably does harm to the prospects of those you seek to be preferred. I'm certainly starting to associate her name with a lot of ceaseless moaning rather than recalling her dancing.

 

If Stepanova herself truly feels she could do much better then she should do what Parish did and dancers have always done - look to move company and be better valued elsewhere.

 

Thoughts on swan Lake and dancing is what this thread should be about and I can't be alone in hoping we get back to it...

[Mary]

Yes let's talk about Swan Lake and the dancing.

 

I was at last Saturday's evening performance and enjoyed the corps as much as others have done-they could not be better and the ethereal beauty of their work really made the evening. but some aspects of this production I ifnd less satisfying. I can't cope with the jester. The odd appearance is OK, but the way he comes in and out all the time I find distracting, and undermining of the story. That is because I have my own view of SL of course,like many of us!

It is no reflection on the very talented dancer.

Here's a  trivial point- those flowers. I thought the  garage -forecourt carnations were a bit tacky , and the way the prince picks up the SAME bouquet that has been thrown away to re-present, seemed a bit cheap!

 

The dancing is all of a superb standard, but I do prefer the RB production,  perahps because it prioritises the story and the overall emotional shape of the piece -dictated by the sublime music-while to me, Mariinsky's at times risks turning it into a "show" or almost a circus, with set pieces being applauded..breaking up the effect..

 

I still enjoyed it immensely though.

[assoluta]

I agree with the tenor of your message, Bruce. The serious problems within Mariinsky ballet are real, nevertheless, and are a very serious concern for many in the ballet world of St. Petersburg. One may choose not to want to know anything about these problems. For those who prefer to be informed, there is a recent article that provides information. It appeared in a noted Russian journal devoted to cultural issues. It's author is one of the most respected ballet scholars in Russia and a professor at the Vaganova Academy. Not a 'fan', not a member of any 'claque'. I learned a lot myself from that article.

 

The link to the translation (the link to the original publication there too)

 

http://balletalert.invisionzone.com/index.php?/topic/39061-who-is-to-dance-at-mariinsky/#entry340172

 

By the way, anybody went to see Somova and Zverev?

[loveclassics]

I agree with the tenor of your message, Bruce. The serious problems within Mariinsky ballet are real, nevertheless, and are a very serious concern for many in the ballet world of St. Petersburg. One may choose not to want to know anything about these problems.

May I suggest you start a new thread to discuss the Mariinsky's problems for those who are interested?  Those of us who prefer to discuss their performances of Swan Lake may then stick to this one.

 

Linda

[assoluta]

I have no intention to open such thread, Linda. It was not my intention to discuss this topic here either. It suffices that I provided a link to the article that has been already quoted on the official Mariinsky site.

 

It is puzzling that so few reports on the Swan Lake performances appeared in this thread so far.

[Jan McNulty]

Possibly it is because people are deterred if their views differ from yours Assoluta.

 

Linda is right - this thread is about Swan Lake performances and not the internal politics of the Mariinsky.

[Beryl H]

Okay, I'm going to mention Yulia Stepanova but ONLY as an aside, I saw my third Swan Lake on Tuesday and after the excitement of Friday and Saturday, this one did seem less enjoyable, partly because I had booked to see Yulia Stepanova and obviously didn't see her. I've seen Alina Somova before in Swan Lake and like her and I still think she is beautiful in the second act, but thought she struggled a bit with the Black Swan pdd, her variation and fouettes looked rough (particularly noticeable after Tereshkina on Saturday).

 

After seeing Konstantin Zverev as Rothbart I was surprised at how subdued his Prince was, perhaps it was nerves, his partnering was very gentle and supportive though, but there was a lack of chemistry, maybe the last act was better, I was very tired and left early.

[Jan McNulty]

It's interesting how different people can see the same thing so differently!

 

Graham Watts tweeted this morning:

 

 

Graham Watts ‏@GWDanceWriter

Inspirational performance of Swan Lake, last night by Alina Somova (I love her Odette so much) Kimin Kim & corps de ballet @mariinskyen

 

 

It doesn't mean that either of these opinions is any less valid than the other, just that there was a different perception.

[Beryl H]

Glad it went so well, wanted to see Kimin Kim and had thought about swapping my Tuesday ticket for Thursday, but it meant travelling to London 4 nights in a row which I knew was impossible, the great thing about ballet is that you can never tell how a performance will go

[mshovelt]

I went to see the Somova/Zverev performance on Tuesday night and, in my opinion it was good, but not great. This was only the second time I’ve seen the Mariinsky’s production (incidentally, the previous time, in 2011, also featured Somova – pure coincidence as on both occasions I booked before the casts were announced) and I think I just don’t like it as much as the RB’s production.

 

The highlight for me were the corps. As many have said, they were excellent; the scenes at the lake were just mesmerising and I really liked the addition of the 8 black swans at the end. I thought Somova was very good, but unspectacular, in both roles. Zverev was also very good though he was a little outshone by Xander Parish who featured as one of the Prince’s friends (an unexpected bonus!). Grigory Popov, as the Jester, was also excellent – Swan Lake can be a bit light on male dancing and he certainly provided some impressive work in this area.

 

There were two things that irritated me (a bit): firstly, the pacing of the music seemed to be all over the place. Some parts were played sooooo slowly and some played at breakneck speed (the Mazurka comes to mind in the latter category – it just ended up sounding messy and rushed). This will be, partly, because I am used to listening to Previn’s recording; I appreciate that this is performed at concert pace rather than danceable pace – but still. Secondly, I just hate it when they stop the performance immediately after the 32 fouettes. I have a feeling this is a Russian trait (?) as the Bolshoi also did this – they certainly didn’t do it in the RB production. For me, the spontaneous applause mid-performance is far more special than just another curtain call where the audience could almost feel they are obliged to clap. Also, this unnecessary stoppage means that they have to restart the music in the middle of the piece and it just sounds all wrong.

 

Having said all that, it was still a very enjoyable evening (as Swan Lake always is) though perhaps not as memorable as other performances I have seen.

[MAB]

 

There were two things that irritated me (a bit): firstly, the pacing of the music seemed to be all over the place. Some parts were played sooooo slowly and some played at breakneck speed (the Mazurka comes to mind in the latter category – it just ended up sounding messy and rushed). This will be, partly, because I am used to listening to Previn’s recording; I appreciate that this is performed at concert pace rather than danceable pace – but still. Secondly, I just hate it when they stop the performance immediately after the 32 fouettes. I have a feeling this is a Russian trait (?) as the Bolshoi also did this – they certainly didn’t do it in the RB production. For me, the spontaneous applause mid-performance is far more special than just another curtain call where the audience could almost feel they are obliged to clap. Also, this unnecessary stoppage means that they have to restart the music in the middle of the piece and it just sounds all wrong.

 

Having said all that, it was still a very enjoyable evening (as Swan Lake always is) though perhaps not as memorable as other performances I have seen.

I think the musical problem is because the dancers are allowed too much leeway to accommodate their personal traits, believing their dancing looks better in slow motion, a trend started by Natalia Markarova.    It's not to my taste I'm afraid as I find the practice rather grotesque, though not all Kirov dancers are so insensitive to the music as those of you lucky enough to have seen Tereshkina will have seen.  Perhaps the production makes a difference too as when the Kirov's Osmolkina (not included on this tour) danced SL with Ivan Putrov at the RB, she displayed such acute musicality that I was actually reminded of Margot Fonteyn in the role.  Osmolkina aside though, I have to say Odette/Odile, with a couple of honourable exceptions, seems beyond the present crop of Kirov girls with the Bolshoi dancers giving far more rounded performances despite being saddled with an inferior production.

 

As for applause, it is very intrusive in Russia and I suppose the dancers are used to that.  I have actually heard the audience clap along to the music there!  There is also this dreadful claque business that can hold up the evening even further.  Personally I feel applause should come at the end, the spontaneous type is I suppose okay, but I hate it when the clapping drowns out the music. 

[Timmie]

I was at the Somova/Kim Swan Lake last night and I’m still on an emotional high. After seeing Alina Somova on TV at Christmas in the Nutcracker and hearing about how good the Mariinsky corps are I went with very high expectations. My hopes were exceeded. Keep in mind I am still a ballet noob (maybe some day I’ll be able to stop saying that…) and I cannot recognise the finer points of ballet to critique, but the whole thing was stunning. Act 1 scene 1 maybe was a bit uninteresting but the appearance of Xander Parish in the pas de trois was a nice bonus after seeing/hearing/reading so much about him lately.

 

When the swans appeared though, it was jaw dropping. So beautiful and so perfect. (I liked the way the model swans were synchronised with the entrance and exits of the corps and Odette, maybe other productions do this but it was nicely done by the Mariinsky). There’s not much to say about the corps swans except they seemed like perfection to me. The Bolshoi corps de ballet last year scared me a bit because they seemed so clone like and I was afraid the Mariinsky would be like that, but whilst the Mariinsky corps appeared and moved as one it seemed so natural it was just entrancing. The lady sitting next to me claimed that the Mariinsky corps are the best in the World and I don’t think I will argue with that.

 

The four cygnets were the best I’ve ever seen (DVD/YouTube/live).

 

The black swan pas de deux was excellent, though the fouettes were not quite what I would have hoped for. The rest was top notch.

 

I liked it and it will keep a smile on my face for quite a while yet.

[Buddy]

A very interesting in depth look and supportive review, principally concerning Oxana Skorik, by  Luke Jennings in the Observer that I’d like to discuss at another time. It also includes kind words for Yulia Stepanova and very high praise for Xander Parish. 

 

http://www.theguardian.com/stage/2014/aug/10/mariinsky-ballet-swan-lake-review-skorik-parish

 

All's well that ends well might be the hopeful message here.

Edited August 10, 2014 by Buddy

[Buddy]

Continuing my post above, referring to the long path that Oxana Skorik  has had to travel Luke Jennings says:

 

“Skorik has made astonishing technical progress. What lies behind her eyes may be harder to fix.”

 

“Behind her eyes,” — I would say that deep inside herself she seems to have found a world of profound poetic beauty and the strength to translate this into magnificent physical artistry.

 

The Mariinsky’s ballet director, Yuri Fateyev, also once commented on Oxana Skorik’s power of inner expression. (I’ve been searching my ‘archives’ for the quote, but can’t find it. I’ll continue the search if necessary.)

 

I’ll go 100% with Clement Crisp on this one.

 

“She possesses exquisite line – eloquent for Odette; dazzling for Odile – and an intriguing air of mystery, of an inner passion. I thought her fascinating.”

 

http://www.ft.com/intl/cms/s/2/6892dfd0-1bbc-11e4-9db1-00144feabdc0.html#axzz39SD6AnVH

Edited August 10, 2014 by Buddy

[Nina G.]

 "..a cabal of Russian ballet fans.." as described by Mr Jennings. 

 

Sounds like a really vicious atmosphere out there amongst ballet goers in St Petersburg (and in Moscow too). How can they do this to dancers?

I was horrified to read what they have done to Ms Skorik. The Russian ballet fans are so extreme in their favouritism. They take Ballet far too serious . 

 

This reminds me of my encounter with a Russian lady at the cinema (an RB relay) not so long ago. Whilst waiting for the doors to open I struck up a small-talk kind of conversation and when I told her I was a great RB fan she suddenly sneered at me saying: "They are rubbish! They can't dance. The Russians are so much better!" I was totally shocked and all I could say was "well, why on earth are you here to watch them?". 

[Buddy]

I guess some folks are like that everywhere, Nina.

[Beryl H]

Sounds as if Ratmansky's "half crazed ballet fans" have travelled north from Moscow to St.Petersburg and worldwide, not to be taken too seriously, although their viciousness amazes me.

[alison]

Well, the internet makes it so easy to get around these days, doesn't it?

[Dance*is*life]

I saw the Mariinsky's  Swan Lake a few years ago and was bowled over by it.  At the end of Act 3 I had tears in my eyes  because I really felt that "This is what Ballet is all about" !   And then came the final act with it's happy ending and I was devastated!   How could they give it a happy ending?????  It was so feeble to hear this amazing music and see Odette and Siegfried just standing there doing nothing, instead of soaring together triumphantly up to heaven   There was a tangible wave of disappointment in the audience.  Anyway, for me it totally ruined the evening, which had been wonderful up until then.  In general I like the traditional choreography for the Tchaikowsky ballets, whereas I prefer the Prokofiev ballets to be the more updated versions.  But to have a happy ending for Swan Lake, is like having Romeo and Juliet wake up and live happily ever after - totally wrong........ 

[Buddy]

I love happy endings. 

Edited August 11, 2014 by Buddy

[John Mallinson]

A post on this thread is hidden while it is under review for being thought to contravene the Acceptable Use Policy and/or forum moderation policy.

[Dance*is*life]

It's funny about happy endings, Buddy - I love them too,  but I am very attached to my dramatic ballet endings and wouldn't have them any other way! 

[Bruce Wall]

Dropped into the SL last night for a last time - only really because I was so impressed with the previous Tereshkina/Shklyarov outing a week ago last Saturday.  While this performance had less Act III filigree (short of the breadth of Shklyarov's flying leaps) there was much to recommend it in Acts II and IV (with the especially ravishing trio of principals here being completed by the ever captivating enchantment of Andrei Yermakov's von Rothbart.  What an asset he is).  Also outstanding was Shklyarov's solo at the end of Act I.  I can but feel that this gracious young man's guesting stint with ABT has paid off mightily in terms of just so many representational decorations and overall assurance.  I say this as he seems (for example) to be the only Mariinsky male dancer who appears to know how to make a decorous front of curtain call exit.  Often it's these small details that can make such a difference.  

 

Victoria Krasnokutskaya stood out (as she has in the past) in the pas de trois as danced by the "Prince's Friends".  She was also the decidedly better half of the 'two swans'.  Her smile easily glowed as did her choreographic exactitude.  Nothing was over-egged.  Sadly that was not true of her partner in crime on both counts, Nadezhda Batoeva.  The latter strove hard in her  Act IV swan solo to impress with (an oft uncertain) breadth in place of precision.  (Never a good thing, but especially so if you are a rather petite artiste.)  Her flow frequently jerked.  Sadly such sloppiness was also true of Kimin Kim who has won much local praise of late.  Here again he served as fulcrum to the first act trio.  There is absolutely no question concerning the joy of this lad's soaring ballon.  An impressive flight obviously comes easily to him - and he appears to be confidently aware of such.  This, however, comes at the expense of much.  His battement serre last night was as unsettled as his batterie (particularly bothersome); there was an unfortunate lack of musicality throughout (most telling), his acting skills in terms of basic response seem to be one dimensional (and I say that based on accumulated experience) and - most deadly - his partnering proficiency borders on being (unintentionally I'm sure) cruel.  Both ladies last night were pulled off balance during their turns.  Kim may well have won a goodly number of INDIVIDUAL international competitions but as a Mariinsky Company member he does I think require careful husbanding.  Surely that would best serve him as much as all.  It would be a crime if this young Korean talent was to be too hastily pushed simply because of the popular bark of any particular audience/media meter.

 

Talking of bark, I took special note last night of the corphyee Yulia Stepanova who appeared as one of the 'big swans'.  She has such an avid core of supporters - sometimes I think overly so:  If they are not careful they may well unwittingly do her a injustice.  Certainly I can see what all the fuss is about.  (That is not always the case.)  Ms. Stepanova's hands are particularly expressive and last night she was superlatively eloquent throughout whilst never pulling focus at any juncture.  Her dessous were delicious; her epaulement dazzled.  The Mariinsky is certainly well within its rights to cherish this resource of fine potential.  It was only a tad sad that she didn't have a more experienced principal partner in her performance as Odette/Odile ... much as could be truly said of Xander Parish on that occasion (as opposed, say, to R&J where he had Tereskina's skills to draw upon).  The supporting assurance wrought through such a dedicated confluence might well have benefited all and would I'm certain have been much appreciated.  

Edited August 14, 2014 by Bruce Wall

[assoluta]

If you knew, Bruce, the whole truth about Stepanova's ordeal you would have understood "desperation" of some of her current supporters who discovered her several years ago. For your information: she is the same age as Skoryk (will be 25 in October), thus she is not very young anymore. At the Vaganova Academy she is considered to be probably the most talented graduate in the last 10 years.

[Amelia]

I found myself so immersed in this enjoyable 3-week season that have found time only for reading but not for writing myself here. However, one tribute is overdue.

For the last 25 years no dissent was ever noticeable among the ballet-goers when the Mariinsky’s corps de ballet was discussed. Who can touch this perfection, this absolute elite of ballet? Therefore, I want to express my admiration and gratitude for the brilliant work of the lady who was coaching and rehearsing the Mariinsky’s Swans throughout all these years - Nina Ukhova (pronounced Ookhova). She is now in her early 80s but judging by her trim figure and light step she will continue to please us with her unmatched achievements for years ahead.

[Buddy]

There were several comments posted at another forum mentioning Yekaterina Kondaurova and the hope of being able to see her next time as she was apparently unable to appear in London this year. Some of you were very fortunate to see several of the Mariinsky's finest Odette/Odiles, Ulyana Lopatkina being one of the greatest, Oxana Skorik being one of my favorites and Yulia Stepanova being one of the most promising.

 

Yekaterina Kondaurova was first noticed for her prowess in 'modern' and is still perhaps the Mariinsky's finest in this regard. I also remember several summers ago in London when she performed Swan Lake. She had only done this twice before, I believe. I can't recall the details or even the sensation, but I do remember waiting at the stage door, something I seldom do, with a transatlantic flight to catch the next morning. I really wanted to offer some words of congratulations. I'd seen some extremely fine Odette/Odiles before, so I must have been very impressed with hers.

 

Known for her 'modernism' it was the lyrical beauty and statuesque elegance of her Swan Lake that I found so wonderful. Since then she has developed remarkably as a 'dramatist' as well. So hopefully the next time that the Mariinsky appears in London, it will be graced with her presence once again. An artist who I think who I think has the portrayal abilities of a Greta Garbo and who is as fine at Forsythe as she is beautiful in Swan Lake.

Edited August 20, 2014 by Buddy

[aileen]

Buddy, I'm afraid that I don't agree with you about Kondaurova in Swan Lake. I saw her perform O/O in 2011 when the Mariinsky came to London and was disappointed with her in this role. However, she was fabulous in The Firebird.

[assoluta]

A year later, in 2012, she was better, but still not totally impressive due to lack of refinement (and small technical errors marring some of her performances). Kondaurova on the other hand excels in Modern.

[Buddy]

Interestingly, in regard to Yekaterina Kondaurova, who is mentioned just above, I found this in the Balletco Archives, "Kirov Female dancers", so it must be true.

 

 "Ekatarina Kondaurova is a tall and gorgeous dancer. She has extra-long limbs and impeccable technique. Her style recalls the great Uliana Lopatkina."

 

http://www.ballet.co.uk/links/dancers_kirov_women.htm

 

 I really want the last word on this one.   ​ 

[MAB]

I note that Kirov women link is wildly out of date, with dancers that left the company or retired years ago.