I'm contemplating a visit to DC in Jan, to see family and the Mariinksy... I haven't been able to find casting, but I'm assuming it's not up anywhere yet. They are doing Don Q... does anyone have recommendations of casts to look out for? I've not seen the company for a while. I so wish they were doing Jewels instead!

And... I guess anyone up for a meet-up? I think I most likely would be at one of the Sat or Sun performances, although this is at the most preliminary stages of planning....

Casting was announced a couple of weeks ago on the Kenn Cen website:

http://www.kennedy-center.org/calendar/ind...=BJBSD#schedule

CASTING
Tue., Jan. 13 & Sat., Jan. 17 at 7:30 p.m.
Kitri: Diana Vishneva
Bazil: Evgeny Ivanchenko

Wed., Jan. 14 at 7:30 p.m.
Kitri: Olesya Novikova
Bazil: Leonid Sarafanov

Thu., Jan. 15 at 7:30 p.m.
Kitri: Viktoria Tereshkina
Bazil: Andrian Fadeyev

Fri., Jan. 16 at 7:30 p.m.
Kitri: Alina Somova
Bazil: Anton Korsakov

Sat., Jan. 17 at 1:30 p.m.
Kitri: Evgenya Obraztsova
Bazil: Vladimir Shklyarov

Sun., Jan. 18 at 1:30 p.m.
Kitri: Viktoria Tereshkina
Bazil: Leonid Sarafanov


This was posted earlier on another thread about the Mariinsky's production of Don Q (general topic) but not on this official thread for the Kennedy Center run.

It now appears that Vishneva's website has been updated to show that she is indeed scheduled for the two DC appearances.

If you were to choose between Tereshkina, Vishneva, and Obraztsova in Kitri (the only days I can go, since I have to work on the weekdays) which would you choose? I admit I have seen none of these lovely ballerinas in this role. I saw Vishneva do the Act 3 pdd at the City Center run and she was a bit shaky.

I would go for Vishneva, but a lot of people seem to like Tereshkina, so she is probably a decent option, too. Obraztsova does not seem like a Kitri to me.

I adore Vishneva but I'm wondering if at this point in her career her best roles are the more dramatic ones like Nikya or Giselle rather than Kitri.

Canbelto, there's no doubt in my mind -- go for Obraztsova/Shklyarov on Saturday afternoon then, if you can stay, Vishneva at night (it's just too bad that she has the somewhat lumbering Ivanchenko as her Basil). Obraztsova is the perfect Kitri and has a gorgeous face to boot. She was a huge hit in Japan when she debuted the role and is also a hit at home. Her partner-in-life and on stage, Shklyarov, will be the icing on the cake. I look to Obraztsova/Shklyarov to do to DC audiences what Osipova/Vasiliev did two seasons ago when the Bolshoi performed Don Q here -- Rock Da House!!!

Kitri should be perky, short n' sassy, IMO. Obraztsova is PERFECTA....as was Vishneva 14 yrs ago, at the start of her career. After Obraztsova, Novikova is my #2 among the current Kirov Kitris (although not dancing on the weekend). Vishneva now performs the role on 'autopilot' but can still be quite effective. Tereshkina is the technical power-lady but she just doesn't do it for me, for some odd reason -- to be admired and cheered, like Lubov Kunakova in an earlier era, but not-quite-the-star like Vishneva and Obraztsova. A huge plus for the Tereshkina Sunday matinee performance should be her Basil -- Sarafanov, who dances with his perfect partner, Novikova, earlier on in the week. As for Somova -- long and gangly is definitely NOT Kitri...but I'll see her as I plan to be at each and every performance. Also, Somova's Basil, Korsakov, can be a delight when he is "on".

+100 to Natalia's opinion (though i prefered Tereshkina DQ at City Center to Vishneva's. big time)
I am looking forward to Obraztsova+Shklyarov.
Natalia, I "envy" you, going to every performance ;-)) (though i will do my 5, definitely skipping Somova ;-)) hope they'd keep the announced cast)..... will the forum readers do as they did at City Center? meeting to "put the faces to the forum names"? Susan are you heading down to DC?

I have posted, on another thread about recent promotions, that Somova has just been made Principal Ballerina. So there will be three Principal Ballerina Kitris on this tour: Vishneva, Tereshkina and Somova. Novikova and Obraztsova remain First Soloists.

Somova in the same league as Lopatkina, Vishneva, Pavlenko et al? What a joke! Natalia , thanks for the news, no matter how bizarre... at least I can hold out hope to see Ayupova live someday before she really retires



I already have my tickets for Sat mat & eve & Sun eve – and I'm PRAYING that the announced casting holds. Some advice for anyone who's planning a trip to DC for this engagement – if you can find a reasonably priced hotel book it now – with the inauguration on 1/20 hotel rates are ridiculous

Susan

Ride home wanted:

My friend Sheila is seeking a ride back to Manhattan after the Saturday evening performance. Willing, of course, to pick up a share of expenses.
I can vouch for her honesty and for the pleasure of her companionship.

Please contact her directly: [address removed, as no longer necessary].

Ok, i'd suggest it only because (me-crazy) i did that and will do it again. I'd take a chinese bus back to Manhattan. $20 - one way, $35 round trip. I did it several times going to openning nights, then hopping on a bus, there are 3 or 4 companies with departures from 11:30 to 11:45pm and going to work next morning ;-)) Chinatown DC is not scary, and I always like a nice brisk walk throug the GW university campus, then by the White House and to the Chinatown (30-40 min).

Wow, thanks, YID! I looked for Chinatown-type buses when I was down there recently, but there were so many bus lines, I never did find one with a suitable departure time. Do you remember any company by name? Greatly appreciated!

As for walking from KC to Chinatown, I'd likely opt for the Metro, which shuts down for the night well after the performance is over.

www. gotobus. com
Todays leaves at 11:18pm
www. 2000coach. com/schedules.html - leaves at 11:30pm.... and I am the walker ;-)) (unless the weather forbids ;-))

Hi there -

Just wanted to add that you may also want to try the Megabus service. It was a low-cost Scottish carrier, but I guess they have a branch in the US. The company operates all over the Midwest and Northeast (I go to Chicago from Urbana on the service sometimes).

They have a service running from 11th St NW and G St NW to Penn Station everyday, with the last one leaving at 11:15 pm (it gets in at 3:45 AM).

You can order these tickets online, and if you order them ahead of time (you can do so for three months ahead), often you can find tickets for under ten dollars. Looking at it right now, a 11:15 PM bus for DC-NY on 11 January (the last date available) is 5 dollars.

emi

Thanks YID and emilienne! I'll send my friend the links to your posts!

And Sheila asked to add her thanks.

I'm sure many other New Yorkers who make future trips to KC are greatly relieved to know there is a late bus/train home!

OMG... thank you EMI...... i might just take a chance and buy $1 or $5 tickets to go to DC - omg, so cheap.... thank you.
.... and sorry for turning the thread into a low-cost bus options - sorry about it...

Just a note: I checked the Kennedy Center website and there is some reshuffling in terms of casting. Vishneva/Ivanchenko are now scheduled for opening night and then Friday Jan 16, while Somova/Sarafanov have been moved to the Saturday Jan 17 evening performance.

Damn, I had a feeling that perfect weekend casting wouldn't hold! I'll be happy if they at least keep Obraztsova & Tereshkina on the matinees.

Thanks for the update!
Susan

I hope I am not breaking any rules, but I have one ticket for the Washington D.C. Don Q opening night on January 13th that unfortunately I won't be able to use. It's an excellent seat in the center section of the Orchestra (row L) that was purchased at subscribers' price of $86 before the tickets went on sale to the general public. Diana Vishneva is scheduled to perform one of her most famous roles of Kitri. If interested, please contact me here or by email: clockxxi@aol.com. We can do PayPal for your protection and I'll mail the ticket for free anywhere in the world.

UPD: Ticket sold.

KennCen website update:

Olesya Novikova is out and, in her place -- drumroll! -- Alina Somova! That means that, so far, I have pulled Wonka's Golden Ticket twice, not counting appearances as Dryad Queen in additional performances.

In other sad news: Leonid Sarafanov is out; instead, Shklyarov -- excellent newcomer -- dances two Basils, including one of the Somovas.

The good news: Obraztsova/Shklyarov are still 'on' for the Saturday matinee (whew!). If Shklyarov now has to partner Somova, then that almost ensures that his wife (Obraztsova) remains on the tour's roster.

REVISED CASTING, updated 1/8
Tue., Jan. 13 at 7:30 p.m.
Kitri: Diana Vishneva
Bazil: Evgeny Ivanchenko

Wed., Jan. 14 at 7:30 p.m.
Kitri: Alina Somova (casting updated on 1/8)
Bazil: Vladimir Shklyarov (casting updated on 1/8)

Thu., Jan. 15 at 7:30 p.m.
Kitri: Viktoria Tereshkina
Bazil: Andrian Fadeyev

Fri., Jan. 16 at 7:30 p.m.
Kitri: Diana Vishneva
Bazil: Evgeny Ivanchenko

Sat., Jan. 17 at 1:30 p.m.
Kitri: Evgenya Obraztsova
Bazil: Vladimir Shklyarov

Sat. Jan. 17 at 7:30 p.m.
Kitri: Alina Somova
Bazil: Evgeny Ivanchenko (casting updated on 1/8)

Sun., Jan. 18 at 1:30 p.m.
Kitri: Viktoria Tereshkina
Bazil: Andrian Fadeyev

It's official--I'll be attending Tuesday night.

Opening Night DON QUIXOTE
Mariinsky Theater Ballet, Yuri Fateev - Acting Director of the Ballet Company (as per Playbill)
January 13, 2009
Kennedy Center Opera House


A fabulous, rousing performance opens the run. However, before the review, here's what everybody wants to know: Which dancers are in town & slated for solos? Fun Hint: They've brought the new sensation of the most recent Vaganova Graduation Class -- Anastasia Nikitina -- for the Act 4 Solo Bridesmaid Variation at two perfs, including the opener.

Corrected Casting, as per insert to the playbill, which has casting for all perfs:

Kitri - Diana Vishneva - Gorgeous! It was a 'Diana is On' night! Overcame an off-balance moment near the start of the 32 fouettes...but Diana is all about the total artist...and she sizzles! How nice to see her maturation in this, her very first role as a 15-yr-old sensation on the stage of the Mariinsky, in Jan 1994.

Basil - Yevgeni Ivanchenko - solid, sleek partner

Flower Seller Girls - Yana Selina and Xenia Dubrovina, the latter replacing N. Gonchar (Selina/Gonchar were scheduled for all performances, so perhaps it will be Selina/Dubrovina for all?)

Espada - Konstantin Sverev *male sensation of the night and one of the troupe's superb up-and-coming guys (class of 05 or thereabouts)! (also on Wed, Fri, Sat eve; role danced by A. Sergeev on Thurs, Ioanissian on Sat mat & Baimuradov on Sun)

Street Dancer - Alexandra Iosifidi replacing Kondaurova, who replaced Somova as Dryad Queen (Iosifidi repeats at all perfs, with exception of Tkachenko at Sat mat and Kondaurova at Sat eve)

Gypsy Lead female - Ryu Ji-Yeon *gorgeous & flexible, replacing Polina Rassadina (Ryu repeats on Thurs & Sat; also danced by Bazhenova & Smirnova-Slivkina)

Gypsy Lead male - Islom Baimuradov... a Human Spark Plug. Huge audience fave! (role also to be danced by Mussin & Murashov, later this week)

Dryad Queen - 'Big Red' Ekaterina Kondaurova, replacing Alina Somova - extraordinarily beautiful, majestic, perfect! What jetes across the stage in the coda! (Kondaurova repeats this role at most perfs, except Somova on Sunday...if Somova shows)

Amour - Valeria Martinyuk - pert, adorable, also impressive in jetes (at most perfs, sharing the role with Elena Yushkovskaya-Vasyukovich)

Mercedes (the tavern girl in red) - Elena Bazhenova, terrific, who knows how to 'milk' this role better than anyone, if not possessing the deepest of backbends we've seen from Bolshoi ladies (scheduled for most perfs, except for Rassadina on Wed, Fri & Sat eve)

Act 4 Fandango Leads - Yulia Smirnova-Slivkina & Karen Ioanissian, both sharp and precise (at all perfs, with exception of Bazhenova on Sat eve)

Act 4 Bridesmaid Variation - Anastasia Nikitina *the new coltish sensation, straight out of the Vaganova Academy. Nice. Soloist possibilities. Bit of a frozen grin...but this was her US debut, so she was understandably nervous. Not as jarring as Somova; a heck of a lot more musical. Again - nice possibilities. (Nikitina repeats this only at the Sat mat; Tatyana Tkachenko will dance this most other perfs (all but Sat mat and Sun); Kondaurova is listed for Sunday)

Don Q - Vladimir Ponomaryev (at all performances)
Sancho - Stanislav Burov (at all perfs.)
Lorenzo, Kitri's father - Igor Petrov (at all perfs)
Gamache - Soslan Kulaev (at all perfs)


Corps de Ballet - not the sharpest in the Kirov-Mariinsky annals, yet the ladies were quite beautiful in the Dream Scene -- and much more poetic than the Bolshoi could ever hope to produce. They've brought a bunch of raw recruits/recent grads, with a sprinkling of vets, such as Androssova, Vasilieva, Luvkovskaya. Interesting that Maria Shirinkina and Daria Vasnetsova -- both of whom have danced leading roles at home and abroad recently...Vasnetsova just debuted as Odette/Odile, in fact -- are here only for corps work.

As expected on tours, the troupe did not perform 100% of its DON Q as it does in St. Petersburg. The Gypsy Camp scene lasted about 10 minutes, without the charming little mime episode of the 'doll theater.' There were no children/Little Cupids at all, altering the patterns of the Dream Scene. No Oriental Dance in the Tavern Scene, even though the Playbill credits Anisimova as the choreographer of that piece. There were only two intermissions, with Act IV-The Wedding immediately following Act III-Tavern, so Kitri and Basil were not able to dance in the group number that closes Act III. All in all, 90 minutes of performance time + two 30-minute intermissions.

Blooper Moment: This being the opening night, there were a few technical kinks with the movement of scenery, e.g., there was a very long pause of about 3-4 minutes between Don Q falling from the windmill and the start of the Dream Scene...with lots of laughter and Russian chattering from the corps, who had to stand in place for a while until the previous scenery was moved, all of this with the curtain up but the lights down.

A Mariinsky conductor -- Pavel Bubelnikov, wearing his famous black pajamas-- led the Kennedy Center Opera House Orchestra, which was sluggish at times. I noticed how Vishneva tried hard to brighten their pace with her castanets, during her Act I solo.

According to the Playbill, Olesya Novikova will dance today, after all...but we may get another 'corrections insert' tonight. So will it be Novikova or Somova as Kitri this evening?

Natalia Nabatova

Generally, a very good performance. Vishneva is an excellent Kitri, able to pull out all the technical stops but also funny, charming, and spirited, with a big smile that reads right up to the last row of the second tier (where I was sitting). Ivanchenko is not the Basilio 'type', but he has a long, strong, beautiful line, and he complemented Vishneva well. The real highlights of this ballet (Dream Sequence and classical principals aside) are the character dances, and those were all performed excellently. Some of the classical dancing felt a bit perfunctory, for example the Flower Sellers and Street dancer in Act I, and unfortunately, the audience around me did not seem to respond to Vishneva or to the comedy and silliness of this beautifully detailed production. Admittedly, it seems a good 3/4 of the mime has been removed, so the dancers are left only with rather vague gestures at times, which to their credit they perform beautifully.

It was unfortunate that the gypsy camp scene had to be cut short because there were no children--it would have been nice if the synopsis had been edited so that the audience did not expect a play and a giant spider, &c. Instead, Don Quixote just runs to the windmill and attaches a hilariously fake-looking mannequin to it.

In the Dream Sequence, the corps looked pretty rough by Mariinsky standards. Their famous precision was just not there at all, but individually, they all looked beautiful. Amor was light and fleet-footed, although with a very loose quality in the legs and ankles, and Kondaurova as Dryad Queen was lovely and grand, but her plié was extremely brittle, which meant that each jump in her variation landed with a thud. Still, I'm glad to see someone at the Mariinsky can still do entrechat-six de volé; I really miss the beats when Dryad Queen just does assemblé simple. Vishneva grinned out at us at the beginning of this scene, but her variation was delicate and ethereal, with very smooth ballonnés on pointe across the stage (not ronds de jambe for some reason), a light jump, and some lovely balances. However, her grands jetés in the coda were upstaged by those of Kondaurova, who just floated into the air effortlessly (I guess she took a moment to go and get her plié out of her dance bag ).

The entrée to the grand pas de deux was performed by dancers wearing incredibly huge tutus in clashing colors--it was like nothing else in the production, but it was well danced. Nikitina, in the bridesmaid solo, has nice port de bras and was not overly stretched in this performance, but unfortunately she does not have secure placement, and this caused problems with her pirouettes.

In the pas de deux itself, everything was there. 'Spanish' fire to spare, along with all the expected lifts, jumps, and pirouettes. Vishneva, as Natalia wrote, overcame a slight stumble during her fouettés, and did the last sixteen with her open fan raised over her head--a triumphant finish.

Thanks Natalia and Hans for your wonderful and detailed reports!

Hans, those huge puffy tutus are part of a ca-2002 attempt to revise the 1902 Gosky-after-Petipa production. The ca-1960 short platter-like tutus worn for decades were replaced by the original 1902 Korovin tutus, recontructed. The Korovin/Golobin 1902 sets -- always in use since 1902 -- were refreshed...same designs, only brighter. The word I heard in St. Petersburg in 2002, when these puffy tutus appeared, was that this was going to be Vikharev's next big reconstruction project but it never went beyond those tutus and the refreshing of the sets.

The Act I villager costumes were also changed. If you compare 'Soviet era' videotapes of this production (such as the 1988 Terekhova-Ruzimatov one) with the present, you will notice that all of the corps ladies in Act I now have multi-colored, sleeved Spanish dresses. In the 1988 tape, you see all of the girls in black sleeveless bodices with spaghetti straps and somewhat colorful skirts. Only the two Flower Girls and Kitri now have spaghetti straps. Also, the 'Soviet' men wore flesh-colored tights, which made the darker shorts look silly; the guys now wear black tights. No more silly little shorts.

I noticed the changes in the men's and women's villager costumes as well--they look very nice, more in keeping with the period. Loved the sets. I appreciate the desire to revive the older costumes, but they are out of scale with the rest of the production. Also, with tutus that wide, are they supposed to be so stiff? I think it would look better if they were allowed to hang down more, thus reducing the 'Victorian flying saucer' effect. Maybe the Mariinsky has caught on to the Steampunk aesthetic.

Thanks for the reports! I'm taking the bus down Saturday morning & starting to get a little nervous about traffic delays due to the cold weather & pre-inauguration festivities. Hopefully I will make it to the matinee on time...

There is one thing I forgot to mention: in the grand pas de deux, Vishneva did the 'easier' interpolated variation--the one that starts with the harp solo--instead of the longer variation performed by Terekhova on the 1988 tape. I'd be interested in hearing whether other Kitris do the same.

Good catch, Hans! Vishneva danced to the one-and-only correct music for the Kitri Act 4 Grand pdd solo. Terekhova interpolated her own wish -- the variation of the 1st Bridesmaid from the Bolshoi version of DON Q...never intended to be Kitri's solo. The Kirov-Mariinsky's DON Q normally omits this bridesmaid solo. Terekhova was known as a jete-specialist par excellence, so she selected a variation that would show her off the best. It will be interesting to see if her charge, Somova, will use the same variation.

Speaking of mixing-and-matching Kitri variations....

When Viktoria Tereshkina performs Kitri, she usually dances a very rare 'Dulcinea solo' in the Dream Scene that was created for Natalia Dudinskaya, to music by Drigo, interpolated to the 1895 version of Humpbacked Horse. I've only seen (on film) Dudinskaya, Komleva, Kullik, and - live - Tereshkina perform this incredibly difficult variation, which includes a final diagonal of very 'nasty' double pirouettes performed alternatingly on different feet.

That is interesting information--I had been told that the other variation (the one Terekhova does) was the original Kitri variation, so it is nice to know the truth! I cannot really imagine Somova dancing that solo, with its numerous jumps (not her specialty) and final diagonal of double piqué turns, but we must wait and see. I really look forward to reading reports from tonight and the rest of the week.

nysusan - Welcome to Washington! Perhaps we could do a BalletTalk meet-and-greet before or after the Saturday matinee? Folks should not have trouble getting into DC on the weekend. Most of the road closures will go into effect on Monday evening.

Hans, I plan to go to every performance and hope to post a little something every day. I really enjoyed reading your own report. I am hopeful that we will hear from several others on this board, especially as the weekend performances approach.

I may go crazy by Sunday afternoon after so much DON Q but I'll give it the Old College Try. Then I'll be getting at least two more DON Qs at the Mariinsky Festival in St Petersburg this March, including the one with Ashley Bouder as guest Kitri with Sarafanov and another with Marcello Gomes as guest Basil opposite Vishneva. Hey - I wonder if Ashley Bouder and/or Marcello Gomes will be in DC in the coming days to see the Mariinsky production, if their respective schedules allow? They can watch DVDs ad nauseum but there's nothing like seeing it live and meeting the colleagues with whom they will be dancing at the festival....although I suppose that Gomes may have already danced with Vishneva in ABT's DON Q.

I might try to see if I can get a student ticket to see Obraztsova on Saturday--can't afford full-price, but I really want to see her. Maybe I could even sit a little closer than the very last row of the theater. I'm glad you'll be at each performance, Natalia; it is so nice to read your reviews as you know the company so well.

Lovely people! Thank you so much for your reports -- for a variety of reasons I couldn't come to DC this weekend, and during the week doesn't work at all.... I look forward to hearing more as the visit progresses! Thank you also for the brief history lessons!

DON QUIXOTE - 2 of 7
Mariinsky Theater Ballet
January 14, 2009
Kennedy Center Opera House

The Summary:

Tonight's second performance of the week-long run left me with mixed emotions. On the one hand, we have an ensemble of the highest calibre, replete with new faces among the corps, yet working hard to do the 'Mariinsky Ballet' name proud. We also have exceptional soloists, such as the evening's leading man, the dashing classicist Vladimir Schklyarov. On the other hand, DON Q is a ballet that pivots around one central character, Kitri, the spunky daughter of a Barcelona innkeeper who is determined to marry a handsome but poor barber. A technically and artistically wanting ballerina can mar an otherwise excellent performance of this ballet. That is, sadly, what happened last night. I hope to never again have to experience as appalling a performance as I witnessed from Alina Somova last night.

The Casting, as per 'corrections insert' to the printed Playbill; to my eyes, this is 100% correct:

Kitri - Alina Somova

Basil - Vladimir Shklyarov

Flower Seller Girls - Yana Selina and Xenia Dubrovina
Espada - Islom Baimuradov
Street Dancer - Alexandra Iosifidi
Gypsy Lead female - Julia Smirnova-Slivkin
Gypsy Lead male - Rafael Musin
Dryad Queen - Ekaterina Kondaurova...a.k.a. "Big Red"
Amour - Elena Yushkovskaya-Vasyukovich
Mercedes (the tavern girl in red) - Elena Bazhenova
Act 4 Fandango Leads - Yulia Smirnova-Slivkina & Karen Ioanissian
Act 4 Bridesmaid Variation - Tatyana Tkachenko

Don Q - Vladimir Ponomaryev
Sancho - Stanislav Burov
Lorenzo, Kitri's father - Igor Petrov
Gamache - Soslan Kulaev

The Review:

The Mariinsky Ballet's incomparable ensemble and soloists delivered another spirited performance, rising above the potential 'wrench' thrown by a miscast Alina Somova as Kitri. It is tough to overcome a poor Kitri but this ensemble did so last night, with its usual panache and brio.

It is really hard to pinpoint where Ms. Somova -- now coached by one of the greatest Kirov-Mariinsky Kitris of all time, Tatyana Terekhova -- failed, there were so many misses. Let's first examine the 'Big Picture.' She does not have the temperament and soul for the role, which she seemed to deliver 'by rote,' acting certain pasages with a shrug or a nod, whereas the night before we had brilliantly-timed comic acting from Diana Vishneva. Too, Alina Somova possesses beautifully elongated limbs which, while possibly a plus in the neo-classical repertoire, are so wrong for Petipa classicism, particularly the spunky-soubrette roles such as Kitri. What's more, at the end of those lovely long legs are very long feet that she fails to properly pointe -- not once fully standing up on them, that I could see -- and lacking turn out. One reason why her fouettes are so ugly (there is no other word for them) is that her inwardly-turned big working foot looks like a knob sticking-up at the end of a pole, churning away. Then we get to the question of musicality: Somova could not even strum the little guitar (that Basil gives her in Act I) in time to the music! During her entrance solo, she could not beat her fan to the floor in time to the music. Then the fixed-smile with uncomfortable-looking gnawing of teeth -- throughout the ballet -- did not help matters at all. Rough going all around. Believe me, I tried very hard to find positives -- beside the beauty of her long limbs and torso-to-leg proportions, I managed to find one positive: she performed one fabulous final diagonal of fast pique turns at the very end of the Act 4 pdd coda...so at least she ended on a high. However, she was very, very wrong, overall. Were this the only time that I had seen Alina Somova and I were a judge at one of the many int'l ballet competitions that I've covered during my past 30 years of watching ballet, I would have eliminated her in Round One. That she became a member of the esteemed Mariinsky Theater ensemble -- let alone be quickly elevated to Prima Ballerina -- is an abomination. Sorry for the seemingly-cruel words but somebody who knows and loves this company cannot sugar-coat the truth. [Notice that not once did I use the word "extensions." She did not over-do the leg extensions as in the past...but extensions were never the main issue for me.]

Now for lots of good news...

Vladimir Shklyarov as Basil -- What a potential treasure of a star danseur! He shone is his solo passages and worked very, very hard to partner a difficult ballerina. The sigh of relief at the end of the Act 4 pdd is understandable. Shklyarov soared in his jumps, spun like a top, acted charmingly and convincingly. I cannot wait to see what he can do opposite a true ballerina, Evgenia Obraztsova, on Saturday afternoon! The audience roared its delight for him. Bravo, Valodya!!!

It was great to see Tatyana Tkachenko once again on our stage, this time performing the Act 4 Bridesmaid Variation. Panache, musicality, rock-solid technique, a naturally charming face -- she has it all. The lone problem -- a little off-balance moment in the first double-pirouete a-la-seconde -- was quickly overcome. Now there is a potential Kitri!

Elena Yushkovskaya was a delightful Amour, even stronger technically than Martinyuk at the opening night. Yushkovskaya is yet another great Vaganova Academy graduate of the legendary 'Class of 1995' that included Vishneva...and the first class that I closely followed during my time living in St. Petersburg in the mid 90s.

What more can be written about Ekaterina Kondaurova's Dryad Queen that hasn't already been said? Quite simply, her gorgeous classicism and elegant-modest demeanor made the Kitri (who mirrored her movements during the start of the dream scene) look even more gallingly bad. A difference like night and day, next to one another performing the same steps. Sad.

"Da Hit" of the Night among the character soloists was the Human Energizer Bunny, Islom Baimuradov -- the previous night's Gypsy Leader -- as Espada. WOW!!! Now here is pure musicality and snap!!! Islom Baimuratov WAS the Spanish music. OLE!!!

The corps was much more united in this second show than in the opener. The orchestra, too, was more secure. Pavel Bubelnikov once again conducted...in his famous black pajamas!

Next up: Viktoria Tereshkina and Andrian Fadeev, tonight.


Natalia Nabatova

Thanks for your thoughts on last night's cast Natalia - I always find your opinions to be spot on! I'm sorry to hear that Somova was so disappointing. I started to feel a glimmer of hope in a couple of her City Center performances and I was hoping that Kitri would be a good role for her.

I would love to say hello to you and any other BTers who are at the Kennedy Center this weekend, I usually go out to the Kennedy bust in the lobby during intermissions, so we could meet there. Getting together after the Sat matinee would work for me too.

Hans - hope to see you there!

Susan

Sounds good, Susan. I've just PM'd you.

Surely, they will not (should not) contemplate handing her Saturday night's performance. Will they ?
Slightly : The "debuts" just keep on coming. Next up? Balanchine's "Theme and Variations."
Date: Jan. 31. Location: Maryinsky Theatre. Abort mission.

Well, I suspect that it may be a "variation" on what Mr. B envisaged. Nonetheless, Ms. Somova is probably better in the neo-classical works than in the classics, although musicality is important there, too. I wish her the best, really. It hurts me to see problems with this company.

Somova was definitely a miscasting for Kitri. I wouldn't want to see Maria Kowrowski
or Wendy Whelan in the role either...

Tereshkina should be lots of fire and fun!

"better in the neo classical works"---ouch! that hurts Natalia. Since the Mariinsky created her let her dance their classics...why should we suffer

atm - sorry!!! I meant it in the sense that Mr. B. encouraged a certain extremism and 'warping' of the old classical forms to a some degree. Musicality is also important so...yeah, I see your point.

Natalia, I agree. This spectacle is painful to watch unfold. It's not funny; it's painful. She made her full-length Kitri debut in July 2007. I think it's reasonable to expect some kind of manifest improvement in the interim. And yet, her offering last night was considered Principal Dancer caliber, acceptable for a paying audience. Her nano-second promotion was their judgement call. Couldn't they see the probable outcome in advance; during rehearsals & coaching sessions? If the company authorities can't see the problem(s), (or rather), choose to ignore the problem(s), it adversely effects not only the individual under discussion, but the entire company. It's unfair for everyone concerned, including the audience. Somova proved herself incapable of leading the performance last night, and "Don Q" isn't the only Petipa work, (or neo-classical work) in her study list that needs to be addressed. My questions are: 1) Will they do this, and 2) Do they dare reconsider this appointment?

I am hoping for wonderful things from Viktoria Tereshkina tonight, if her DON Q Grand Pas from the April '08 City Center season is any indication. Tonight should also see the DC debut of Alexander Sergeev's Espada, so I am very excited about that...and we all know how wonderful Andrian Fadeev can be, as per his Lankadem and Romeo here in DC, in seasons past.

Onwards and upwards.

Can anyone explain to me who saw the performance, what Alistair MaCaulay meant in his review when he wrote, " In Act II the Cleopatra-like Ekaterina Kondaurova (Queen of the Dryads) was, as an artist, more nearly stale than I have ever seen her. "

Is it a typo? If not what does he mean?

I think he was saying he is bored by this particular ballet and intimating she was as well.
The prior line read: "But the ballet palls. It is not my mind alone that glazes over in such fare."

Opening night - overall, a sub-par evening at the ballet. For the most part, I blame the production. Don Q is a difficult full-length ballet to pull off. The Russians certainly know how to go over the top with the exotic plot lines for many of the story ballets, and somehow, this production needed more exotica, heat and fun. I definitely prefer the Bolshoi production which is defintely zany and very exciting.

And I just don't get Vishneva. I've seen her live twice now, and I'm not taken with her, as much as I want to be. She did a nice job and added some fun, however, I thought she was "acting" her way through the role, and not really enjoying it. It was a a very studied, star performance, and I don't quite buy it. Her foutte sequence was painful to watch. I don't think I care for her technique for these turns-- very jarring-- and while it is impressive that she was able to hold one hand up with the fan for many turns, it was not a pretty picture. I'd rather go for less and make it look better.

Her partner didn't help matters. There was no real repoire between them. He is miscast in this ballet. He is tall and has nice lines, and his turns in second were very nice, but I see him much more as a prince type. Not fiery enough. The grand pas partnering made me nervous and that's a bad sign. They almost lost it a couple of times, and it wasn't pretty.

Kondourova was fine, but lacked warmth and any connection to her fellow dancers or the audience. Amour was pleasant.

The stand outs were the third soloist (I don't know who it was), and one of the soloists during the dream sequence. I think it is this new girl, Nikitina?? Wow, she has a bright future-- lush movement, nice physique, strong technique, and a pleasing way with the audience.

I guess what I find so disheartening in the recent performances by the Russians, especially the Kirov, is the lack of spontaneity and joy in the dancing. It all looks a bit too perfect, and it doesn't all add up at the end of the day.

Kondaurova is an exotic beauty, "Cleopatra-like" with red hair and a cat-like, mysterious, sensual face, but sometimes she does not exude the strongest overall presence/personality with her dancing. I found her to be more mysterious and beautiful to look at, than commanding on stage this past season at City Center, except when she became a fun, sassy, bold, sensuously sexy woman in Rubies.

As to why the Mariinsky would put Somova into a part like Kitri... although it is most definitely not her natural role?.... Well, Balanchine often put dancers into parts, and created parts for dancers he wanted to improve by the choreography. Classes and rehearsals aren't often enough, and certainly not as much fun as dancing, and gaining performance strengths, while on stage.

Kitri is one of the most difficult female roles (in the full-length version), technically. It's all powerhouse stuff with a bold personality required on top. Kitri should make Somova stonger in her jumps, and turns, if she dances enough of them. Personality is another story... needing lots of coaching for sure.... I'm reminded of Mimi Paul who was a poor jumper until Balanchine created Valse Fantasie for her.

Can anyone explain to me why anyone would want to do a jeté like this? http://www.washingtonpost.com/wp-dyn/conte...hpid=artsliving

Is it just an example of the "more must be better" school? Or could some poet here illuminate the aesthetic value of it enough for me to appreciate the line?

That is so frightening, I have to hide. I may not come out for a while.